Reviews Galore
Words: Brian ‘Bordello’ Shea





The cult leader of the infamous lo fi gods, The Bordellos, Brian ‘Bordello’ Shea has released countless recordings over the decades with his family band of hapless unfortunates, and is the owner of a most self-deprecating sound-off style blog. His most recent releases include The Bordellos beautifully despondent pains-of-the-heart and mockery of clique “hipsters” ode to Liverpool, the diatribe ‘Boris Johnson Massacre’ and just in the last month, The King Of No-Fi album. He has also released, under the Idiot Blur Fanboy moniker, a stripped down classic album of resignation and Gallagher brothers’ polemics.

Each week we send a mountain of new releases to the self-depreciating maverick to see what sticks. In his own idiosyncratic style and turn-of-phrase, pontificating aloud and reviewing with scrutiny an eclectic deluge of releases, here Brian’s latest batch of recommendations


Bruce Springsteen ‘Letter To You’
(Columbia Records) Title Track/Available Now


What a glam slam stomper of a hi energy dance around your handbag floor filler this new single is: a disco ball of sex and glitter. Only joking. No what we have here is the new song by Mr Boss himself Bruuuuuuuuuuuce Springsteen and yes it sounds like you would expect a slow paced Bruce Springsteen single to sound like, slow paced and Bruce like, which I’m not saying is a bad thing: if you love Bruce Springsteen you will love this, if you hate Bruce you will still hate him, and if you have no opinion on him this will not sway you either way. I quite like Bruce, so I quite like this.






This Is The Kit ‘Coming To Get You Nowhere’
Single/Out there now




Curse This Is The Kit, I was going to spend the afternoon catching up with my reviewing duties but instead I have been losing myself in the magic and wonder of This is The kit’s Youtube outpourings instead: this beautiful new single leading me astray into their wonderful and magical land of musical splendour of a back catalogue. Curse you and this new single! Yes is as magical as their other outpourings; fine stuff indeed.






Lizzy Young ‘Obvious’
Single/Available Now





I love this. It has a dark humour and a piano sound that reminds me of Captain Scarlet, which is what one wants from a short blast of a tossed away sass of a single; a blast of devil may care boredom and disinterest that runs through this way too short 3-minute pop gem. But that is far too obvious.






Beauty Stab ‘Beauty Stab’
EP/8th September 2020




Last month Beauty Stab released what I called “single of the year” with sublime erotically art synth pop beauty that is the lead off track from this new EP, French Film Embrace. So you would think that would be the highlight. Well how wrong you would be; this 4 tracker is one long highlight.

The already previously reviewed ‘French Film Embrace’ is indeed a beauty with a bass riff that sounds like a matador reliving the sexual wanderings of his youth. Next up is ‘The Rain’, a track that’s melodramatic post punk synth 60s pop genius, part John Leyton ‘Johnny Remember Me’, part Southern Death Cult, part Soft Cell; a track that is as camp as a row of tents and as dark as the darkest of nights: another pure pop gem.

The 3rd track ‘Protégé’ shows the other side of the band, the more experimental and art pop side, that they cradle with a gentle beauty only the gentle of soul truly possess. The Final track is ‘O Eden’, which was their debut single that was released on Metal postcard Records last year but in a remixed form, and a track that has not lost any of its heart breaking beauty, is a synth ballad to end all other synth ballads. Dan proving once again he is the rightful successor to Scott Walker with a truly outstanding vocal, this should have been all over the radio last year.

So hopefully with its reappearance on this EP that will be put right. An EP of true pop genius in a time when we need EPS of true pop genius more than any other.




See also…

Beauty Stab Interview (with Brian ‘Bordello’ Shea) (here)

‘O Eden’ Review  (here)



Deepfake Moneybomb ‘Deepfake Moneybomb’
Album/8th September 2020




There is a Randy Newman feel about this album that I like. I have always had a thing for music when you can hear the performer arch his eyebrows and I certainly think Deepfake Moneybomb is arching both brows on this joy ride of subtle adventure. This is a songwriter who knows long words and is not afraid to use them. A man who is not going to dumb himself down so some knucklehead Oasis fans can swig their larger and belch and fart along to his quickie sci-fi folk songs.

We really need artists like Deepfake Moneybomb in these days of blandness and disease to offer us his quirky outlook on love and life and quantum mechanics. This album is an example of the DIY bedroom recording culture at its very best and has me wanting to go and dig out my Charles Douglas CDs and lose myself in laid-back home-recorded pure musical invention.






The Amplifier Heads ‘Music For Abandoned Amusement Parks’
Album/9th September 2020




A new album by The Amplifier Heads is always something to look forward to, for you are always guaranteed sublime melodies beautiful lyrics and the magic spell of true rock n roll invention. Part XTC part Cleaner From Venus but mostly The Amplifier Heads psych power pop and guitar jangle meet in an album of melancholic nostalgia songs recalling the end of the summer’s past.

This 14-song album is a concept album of sorts with as mentioned the “Abandoned Amusement Arcade” being a metaphor for the passing of youth and your memories of it. So, songs of youthful abandon and abandoned youth are covered quite beautifully; leaving one with the same feeling one has after watching George Lucas’s masterpiece American Graffiti.

Music for Abandoned Amusement Parks is the perfect album to soundtrack the oncoming Autumn/Winter months and anyone with a love for guitar and melody this album is a must have.






Salem Trials ‘Fear For Whatever Comes Next’
Album/Available Now




So the third album of the year by the most exciting guitar band of 2020 arrives and once again with little fanfare, slipping it out on their Bandcamp, and once again proving how unfair this rock n roll malarkey is as the very average Fontaine D.C. achieve all kinds of sales and critical ravings are heaped upon them. This fine album songs of Buzzcock like panache and excitement mixed with early experimental escapades of Barrett’s Pink Floyd and early 80s Fall and full on Beefheart shenanigans will no doubt go by unnoticed.

This is the true sound of the guitar underground. This is where the magic is kept. This is what should be what is coming out of your radio when you turn it on after 9pm. This album sounds like a best of John Peel radio show. This is the true alternative and just how wonderful the true alternative sounds.




See also…

Salem Trials ‘Do Something Dangerous’ Album Review  (here)



Nicky William ‘Pathetic Fuck’
Single/28th August 2020




A funky little offering from Nicky William, who goes all dandy on us, with a short and sweet dark swipe at his own character traits. A strange subject matter I suppose, but one that needs exploring and indeed he does explore it in the two minutes 15 seconds this little gem spins around your head, with its drum beats, flutes and “oooh” backing vocals. A fine track, and one that’s taken from his forthcoming EP.



Album Reviews Galore
Words: Dominic Valvona





An eclectic array of reviews, Dominic Valvona’s long-running Tickling Our Fancy column aims to cast the net wide, choosing a diverse collection of recent and upcoming releases for your perusal.

This month’s selection includes two special reissues, the first, the cross-pollinating “Azerbaijani Gitara” music of the late Caucasus legend Rüstəm Quliyev, the second, a beatific Gnawa set of recordings from the late esteemed Moroccan master Maalam Mahmoud Gania.

I also have a gander at the fantastical anthropologist ambient tape from the shrouded Maitrii Orboreal Ceremony, and a new album of sun-dappled affirmations from the Beach Boys imbued pastoral recluse Mike Gale. There’s the American three-piece Pons, who launch a torrid of punk and indie-dance mayhem on the unsuspecting public with their debut album, Intellect. From the prolific Hamburg label of experimental electronica, there’s a new reggae-imbued techno suite from Schlammpeitziger, and a very special project from the renowned producer Ian Brennan, his most personal yet, the Sheltered Workshop Singers (perhaps the first recording of its type anywhere). And finally, Esbe takes us on an Egyptian and Sufi India fantasy with her new synthesised album, Saqqara.


Pons ‘Intellect’
(Stick ’n’ Move Records) Album/17th September 2020




A volatile chaos that is remarkably tactile in places, the blossoming erratic American trio of Pons throw everything into their debut album Intellect. The culmination of various mischievous bombardments and jerked dances on a slew of EPs and singles, from a band that first formulated their blueprint in North Carolina in 2018 before relocating a year later to Virginia, this paranoid hectic and ridiculous fully realised long-player whips up a torrid of unhinged energy.

Reminding me of that first White Denim album, yet coarser and heavier, Intellect is full of ideas in what, by now, is a worn cross-section of post-punk and garage related genres. From the off though, you know this is going to be something else; a diy friction of scuzzed garage/skate/doom punk that creeps as much towards the Gothic as it does towards indie-dance.

They set us up with a reverberated, eerie lead-in of “we got a winner” samples and bird squawks, then roll pendulously into an harassed vision of The Stooges ripping it outta the Talking Heads before speed-freaking style riffing on Liquid Liquid, Ludus, Essential Logic and The Black Lips: Phew! Suck that up.

An ennui of rhythms, time changes and moods flip constantly between intense mania and more limbering no-wave downtown NYC Keith Herring doodled electro-funk. ‘Primal Urge’ is just that: a primal doom quickened, kettle rolling grunt of 80s Californian punk. ‘Jimmy Two-Dimes’ fucks up brilliantly The Strokes, and even, smashes up the NY Dolls and Suicide. But if we’re talking of real concentrated madness, ‘Dick Dastardly’ runs that cartoon scoundrel through a gruff free fall of James Chance, Ornate Coleman (yeah imagine that!) and space rock.

Funhouse Teenage Shutdowns, Nuggets garage gets roughed up on ‘Fabrication’, and Black Randy fights it out with The Electric Eels on the paranoia enclosing ‘Polly’s Hotel’. Single ‘Subliminal Messages’ takes a different musical route entirely; the advertiser slated consumerist nightmare limbers onto a dancefloor occupied by Disco Drive, Gang Gang Dance and Juan MacClean. ‘I See My Name In Lights’ bastardizes Electric 6, DAF, the Italian proto-punk dance miscreants Halleluah!, Renegade Soundwave and Death Grips: perhaps a touch of a synth-punk Beastie Boys.

What a record. I’m not sure I could really argue that the Pons are doing anything particularly new. Yet Intellect has quickly enthralled and excited me. Subtle meets the hardliners, as the bonus of youth drudges, sludges and drums up a vortex of generation X and boomer credulity. Nothing short of a brilliant noise, energy directed for the benefit of all, a glorious skewered and deranged indie-dance album of punk snot petulance and fun.




Mike Gale ‘The Star Spread Indefinite’
Album/25th September 2020




The former Co-Pilgrim and Black Nelson instigator Mike Gale may have retired from performing live some time ago now, but he’s still been highly prolific in recording. Using his trusty 32-track TASCAM cassette recorder, in just the last 18 months Gale has released the Pacific Ocean lulled sorrowed album, Summer Deluxe, a recent compilation of (far from) unfinished works and B-side paeans and breezes entitled B, C, D Side Volume 1, and a lockdown mini-album, Sunshine For The Mountain God. And now with this latest acoustic-led songbook, Gale furnishes us with the astral dreamy entitled The Star Spread Indefinite.

That cosmological title was found amongst his recent reading material, in Justin Hopper’s The Old Weird Albion. In one particular section, the uncovering of an ancient piece of artwork, scratched into the wall of a flint mine in Sussex triggered a beautiful starry-poetic response from the discoverer who found and named it. As a poetic prompt it brings Gale out of the melancholy of lockdown into a most dreamy state of reflection. And in his most lulled, drifting ruminating moments, balances a languid sense of yearning despondency with a peaceable message of positive affirmation for our near-miraculous existence.

The Monolith Cocktail was lucky enough to share the album’s precursor video-track (created by Jussi Virkkumaa) recently, ‘Go Help’: A tropical-lilted wistful tiptoe sauntering, and disarming disconsolate bobbing continuation of the plaintive beachcomber Beach Boys sound that has permeated the reclusive polymath’s output for a number of years. That means more of those lulled layered harmonies and the present lingering presence of a distant lapping tide. Though Gale lends an English pastoral bent to the Beach Boys California beach combing romanticisms. You can hear it clearly on the 70s AM radio dial wash ‘Stripped Sunlight’, which has an air of the SMiLE era about it.

Elsewhere in his harmonious gauzy hushed way, Gale evokes the Laurel Canyon dappled loveliness of Marc Eric, a beachside relocated epic45 and Roger Bunn on the sweetly synthesized golden ray affirmation ‘This Year’. The starry lush ‘Pastel Coloured Warm’, with its bahbahbah lilting chorus, hints at a meeting between the Go-Betweens and Prefab Sprout. Albeit a less sparse version, Gale also channels the spirit of Sparklehorse throughout this often-gossamer songbook. There’s also an easing into the Yacht Rock genre and the 80s phaser-effect and dry-ice cool of Phil Collins to provide a softened pop feel to some of the washes.

With soothing élan and shimmery dreaminess, Gale aches and wistfully fights through the disappointment, knock backs and anxiety to lift himself above it all with repeated mantras of “I’ll get my wish”, or, “This year I’m going to make it.” Let’s hope he does make it, as Gale is a fine musician and songwriter. The Star Spread Indefinite confirms that.





See also…

Mike Gale ‘Go Help‘ Premiere 

Sweet Marie‘ 

B,C,D Sides Volume 1

Summer Deluxe‘ 




Schlammpeitziger ‘Ein Weltleck In Der Echokammer’
(Bureau B) Album/25th September 2020




After previously unconsciously composing a kind of reggae and dub vision of Kraut-tronica over nine albums, Cologne stalwart of thirty years Jo Zimmermann has decided to now consciously meld those genres to his quirky lilt of electronic music on the tenth album, Ein Weltleck In Der Echokammer (for those needing a translation, that’s “a world leak in the echo chamber”).

It wasn’t, we’re told, until Zimmermann’s friend and ‘reggae expert’ Bettina Lattak remarked upon the composer, illustrator and performance artist’s oblivious use of those Caribbean flavours that it all suddenly clicked. And for this latest electro-fusion, fun, radiant, bouncing and sub-tropical suite, he, unabashed, tinkers almost effortlessly with a reggae sound stripped of context, history and religion: Just the feel, vibe and resonance. In practice this results in dubby warbled bass and echo, limbering gaited rhythms and a laid-back candour. There’s even a lilted saunter of steel drums to be heard, bobbing away on the tropical soulful electro-funk ‘Handicapfalter’.

That relaxed sound and sway – bordering on sun-bleached escapism – is counterbalanced by electro-cool starry synths, industrial metallic scuttles and a sophisticated layering of synthesized toms, kick-drums and polygons. It’s a sound that transduces label mates Station 17 and Clap! Clap!, a more languid Dunkelziffer, Holgar Czukay and Kraftwerk into a kind of Krautrock Compass Points Allstars, or, a futurist Marvin Gaye produced by a late 70s post-punk erring Eno. The itching percussive space-y tweeting ‘Tanzfußfalle’ seems to have invited Air, Psycho & Plastic and International Pony onto a dancefloor. That Kraftwerk namedrop evidently is a given. Zimmermann, trading under his longstanding Schlammpeitziger persona, references the Baroque harpsichord neo-classical Trans-European Express suite ‘Spiegelsaal’ (or ‘The Hall Of Mirrors’ as most of us know it) on his own mirrored trans-alpine refracted Oompah magic ‘Hüftgoldpolka’. Imbued with the Dusseldorf unit’s own spell-casting allusions on fame and image, Zimmermann leads a merry dance of his own.

There are of course some serious moments on what is essentially a tempered subtle pleasant soundtrack of understated techno, Kosmische and dance music. In what is a newish development, on this the second release for Bureau B, Zimmermann takes to singing; adding a cryptic whimsy and curiosity of half-narrated and humming, sighing and despondent lyricism to a number of tracks.

A warping, bended and sometimes crystalline, sometimes rattling, reggae-light sonic quirk, Ein Weltleck In Der Echokammer seems to offer a bright window into another world; a ladder out of the echo chamber towards a nice suffusion of Germanic electronic escapism.






Sheltered Workshop Singers ‘Who You Calling Slow?’
Album/18th September 2020




Used to travelling around the globe as the inconspicuous in-the-field recordist and in-situ producer, Ian Brennan has made a critically acclaimed career out of recording some of the most persecuted, ignored and neglected communities: from an Albinism refuge in Tanzania to the Abatwa pygmies of Rwanda and the victims of Pol Pot’s genocide in Cambodia. It’s a varied career; with projects as diverse as the Malawi Mouse Boys film score that never was to recording the prisoners of that same country’s maximum-security facility in Zomba.

Yet all of those projects share Ian’s overriding raison d’être, as laid out in his brilliantly engaging How Music Dies (Or Lives) tome: ‘My concern is not cultural authenticity, but emotional truth and uncloying performances. Purity, without baggage!’

The Grammy-nominated award winner’s latest project though, is his most personal yet. Collaborating with his only sister, Jane, who has Down Syndrome, Ian uniquely facilitates a platform for the Sheltered Workshop of diverse voices; spotlighting the ‘developmentally-disabled’ population in what could be the first ever album of its kind. In his notes Ian refers to a nameless “music expert” and his recent assertions that there was no such thing as a “virgin birth”, as he called it, left in music, that it was all based on “outside influence”. Ian however calls upon that “expert” to witness “what can happen when you hand a guitar for the first time to someone who has only partial use of their limbs.” As do some of the ensemble on this remarkable set of recordings. For this is a cast that have never before had that access or even opportunity to make themselves heard through the connective joy of music: the same one Ian enjoys with his sister Jane.

This album is far from an exercise in either charitable virtue or worse, exploitation. It’s more an overdue platform for those who have previously been ignored, sidelined and even patronized due to their needs and disabilities; especially vocally with most unable to articulate because of a reduced vocabulary and speech impediment. However, Ian finds that there are few more “expressive singers” than that are “non-verbal”. And the various pure emotions on display from this group of performers, who’ve previously never sung in front of a mic or played an instrument before, are deeply felt and resonating.

It’s a language that often sounds strikingly stripped of convention; often, to my ears, having more in common with Ian’s recordings from Africa, especially the incredibly vulnerable Tanzania Albinism community on the White African Power album. Sometimes almost ghostly and fragile, and at other times harmonic and utterly compelling, these voices can be as succinct as the performer Dan repeating his name with a raspy growl over a twanged guitar string accompaniment, or, as amorphous as the group effect of mourned vocals on ‘I Love You (Farewell Father)’. Incantation mantra meets the soulful and even fearless.

Accompaniments come in the form of the most expressive and unburdened of experimentation. The already mentioned Dan seems to channel both Medieval sonnet and primal blues-y-swamp rock on his opening turn, whilst Grace’s life story, with its guitar buzz, distortion and drone, hints at psychedelic grunge and shoegaze doom. Tom’s disconsolate ‘Sometimes I Feel Just Like A Zombie’ is so mysterious with its throat-singing snouts and hums that it could be some lost Tibetan malady. Glass-sounding xylophone keyboard effects, trembled strings, slapped rhythms and choruses of kazoos all make appearances on this open and candid collection of unbridled and unreserved communication. But don’t ever think to buy this album just out of charity or compassion, or even as a novelty (even though proceeds do go to a great cause); instead buy it because of those purely uncloying and truthful performances. But buy it because it has personality and something important to say.





See also…

Ian Brennan ‘Interview’ (here)

Ustad Saami ‘God Is Not A Terrorist’ (here)

Malawi Mouse Boys ‘Score For A Film About Malawi Without Music From Malawi’ (here)

Tanzania Albinism Collective ‘White African Power’ (here)



Esbe ‘Saqqara’
(New Cat) album/25th September 2020




Channeling a dreamy cast of ancient Egyptian characters (both fictional and historical), the diaphanous-breathed enchantress Esbe conjures up a most atmospheric peregrination on her fifth album, Saqqara. A musical odyssey of imagined reincarnated lives, the vocalist, producer and composer drifts down an atavistic Aswan, past the landmarks of Pharaoh dynasties: A musical traverse that extends from one civilisation to the next, past Arabia towards Uruk and then into the mystifying regions of Indian Sufi.

But firstly, more about the Egyptian allure that drew Esbe in. The album’s title Saqqara (or sometimes spelt as “Sakkara”) refers to the desert edge site of the awe-inspiring pyramid-tomb of the IIIrd dynasty Pharaoh Djoser; son of the dynasty foundress Nimaathap, who ruled sometime between the years of 2667 – 2648 BC. Not just a resting place but a show of power, Djoser’s impressive tomb was conceived by the even more famous polymath prime minister, high priest and royal architect (known by some Egyptologists as the Egyptian Leonardo) Imhotep. It forms part of the legendary City Of The Dead necropolis that extends across Giza and Dahshu, but is the only one still standing. As it inspired countless others before, this Step Pyramid now forms at least some of the storytelling poetry and atmospherics of this continuously hypnotizing electronic, real instruments and vocal mirage.

Under that monument’s shadow Esbe imagines an Egyptian woman dreaming of a lover, symbolically laying down with the revered Arabian leopard, to an entrancing, circling exotic menagerie and a shimmered procession on the album’s opening ambient fusion ‘My Love Knows No Bounds’. Esbe also evokes the torrid romance between Cleopatra and Mark Anthony on an updated vision of the sword and sandal soundtrack, ‘Carry Me Away’. Half Mills & Boon, half alluring lovelorn exotic camel trail; the two star-crossed lovers are cast adrift to a sound-bed of ponderous synthesizer vapours and cluttering drums.

The desires of escapism of a slave girl, seconded to laboring under the deathly heat on the pyramids, form the yearning sorrows of the Celtic-Arabian ‘I’ll Fly’. Subtle tubular Japan-esque synth percussion and sand dune jazz, dusky trumpet serenade and snake rattles converge to create the musical accompaniment.

Biblical augurs of doom are given a pining 80s synth dreamwave of crystal rays on the duel environmental and lunar phenomenon ‘Paint The Moon’, and low key acid-Arabia undulations permeate the caressed astral ‘Bedouin Prince’.

Moving further east to the subcontinent of India, Esbe lulls and coos melodious devotionals in the style of the Sufi music of Qawaali. Inspired by that forms doyen Nusrat Fateh Ali Khan, Esbe spindles an electronic spiritual version of Transglobal Underground on ‘Qawaali Dance’, and builds up a filmic drama of unfurled beauty on the epic ‘Qawaali Siesta’.

It’s a cinematic musical world that fuses tablas, zither and electronics with the sounds of the desert wildlife. Vocally Esbe draws on her eclectic Polish, Lithuanian and Jewish roots whilst embracing the phrasings, melodies of North Africa, the Middle East and mystical India. It makes for an ambiguous and impressive vocal that soars aria-like and chorally fills the space: A voice that even smolders.

Saqqara is a dreamy soundtrack that perfectly encapsulates an Egyptian fantasy: one that has a lushly performed lyrical and thematic message for the present epoch.






Maitrii Orboreal Ceremony ‘Prismic Passageways’
(Moonside Tapes) Album/11th August 2020




An ethnographical fiction, bordering on Atlantis myth, the shrouded instigators behind this latest experimental ambient peregrination for the always intriguing cassette label Moonside Tapes set sail for an imaginary land of shaman rituals and mysticism.

With a backstory mined from the annals of real historical anthropology and the field recorder’s archives, those mysterious forces of the Maitrii Orboreal Ceremony build up a half-convincing soundscape catalogue of fantastical atmospheres from the missing geographical link of Maitrii, a South Pacific realm that could have been part of another fantastical dreamed-up sunken continent, Aninomola. Because it never existed, it acts as an inspiration and blank canvas for an atavistic soundtrack of quasi-tribal primitivism and spiritualism.

The back-story goes that the only remnants, evidence of this obscure place and civilization are to be found in the notebooks and recordings of the anthropologist Dr. August Maynard, who it seems disappeared; his belongings in turn, found by villagers on the shores of that equally mystical, though very real, abandoned oasis, Easter Island.

Split into two lengthy recordings of grouped together themes, Prismic Passageways is divided into Trance and Meditation suites. “Presented here unabridged” and in “stereo”, the trance quintet of seamlessly strung-together tracks swirls around in Shamanistic communion, whilst the meditation sextet of dreamy esoteric atmospheres ventures past the misty coastline holy places into the interior. That first side of the tape feels like a misty ether veiled rowing boat drift to Skull Island. Summoned forth into a strange landscape, obscured creature calls and the haunted presence of the Maitrii spirits lure the weary travellers into an ambient sound world. A sorcerer’s crystalline ray reaches out to break the omnipresent foggy mirage at one point, and later, those so far feint rolls across a frame drum and lightly woody beaten pallets are ramped up into heavily reverberating, echoed elongated rhythms. It ends in an intoxicant spiral of drug-induced hallucinogenics: a spiral wispy drowsy and unsure ceremony in the catacombs.

That flip side, which traverses a ‘dawn prayer’, the fabled sun eater, and references the Hebrew biblical place of the ‘Land of Beulah’ – a place somewhere between Heaven and Earth -, features a venerable resonance of South Seas ancient mantric voices, bobbing trickled wooden marimba and minimal ambient suffusions.

For those wishing something different from their ambient traverses, enter the strange anthropological mystery of the Maitrii Orboreal Ceremony.





See also:

Jimmy W ‘Midi Canoe’ (here)

Cousin Silas And The Gloves Of Bones ‘Kafou In Avalonia’ (here)




Reissue Features:


Rüstəm Quliyev ‘Azerbaijani Gitara’
(Bongo Joe) Album/18th September 2020




The history and travails of the fecund oil rich country of Azerbaijan are atavistic. This is a nation that has striven to gain independence from a string of empires: both Tsarist and Soviet Russia, Iran, Albania, and much further back, the great Mongol Khan Timur. Desired not only for its abundance in fossil fuels – providing 80% of the Soviet’s oil on the Eastern Front during WWII, and continuing even now to be a vital pipeline for the post-communist Russian Federation – but for its geographical corridor to its fellow Transcaucasia neighbours of Georgia and Armenia in the west, to the south, Iran, in the north, Russia, and to the west, the vast inland lake, the Caspian Sea.

Khanates, caliphates, communism and secularism – Azerbaijan’s first declaration of independence came in 1918 and with it the first secular Muslim state – have all made their marks on this fertile land that in recent years has attempted to make inroads with NATO, the EU and China, whilst shaking off corruption. Since the collapse of the Soviet Union and with it Azerbaijan’s second declaration of independence, coups and counter-coups have hampered a smooth transaction towards democracy. Though the country remains stable, if governed for at least the last two decades by the Aliyev family.

 

Bordering as it does so many cultures, its no wonder that one of the country’s most celebrated guitar pioneers Rüstəm Quliyev absorbed and embraced such a diverse range of customs from abroad and far; from local modals, wedding celebrations and traditions to the regal music of the Persian court, Bollywood musicals and dreamy evocations of Arabia. Reissued by those tastemakers at Bongo Joe Records, this incredible sounding compilation brings together a smattering of eclectic guitar led tracks from the late legend’s expansive diy produced catalogue.

As with many of his forbearers and peers, Rüstəm would firstly master the region’s traditional instruments, the tar (an ornate curvy looking waisted long-necked lute) and saz (another long-necked lute instrument, shaped like a teardrop almost) before picking up the guitar; an instrument or version of which first trickled into the country from the Czech factory makers Jolana in the 1960s. But Rüstəm’s first introduction to the “gitara” was whilst serving in the Soviet military in Russia; an episode that soon ended, allowing the burgeoning talent to return to a civil war in his own homeland.

 

Hailing from the disputed mountainous Nagorno-Karabakh region of Azerbaijan, Rüstəm’s backyard was in the middle of a war. A convoluted history, but circumstances saw the autonomous Armenian ethnic-majority southern Caucasus area internationally recognized as part of Azerbaijan, but governed by the Republic Of Artsakh. Both breakaway states locked horns in the wake of the Soviet implosion; old rivalries, disputes were bought to the surface and violence soon ensued, including ethnic cleansing atrocities. In 1994 Russia secured a ceasefire after six years of conflict. As a consequence of this upheaval, with populations dispersed in some cases, Rüstəm moved further west towards the country’s Caspian costal capital of Baku; a move that would connect the rural visionary’s formative training with the lakeside cosmopolitan city’s network of international visitors and students, one of which, a student from Afghanistan, would introduce Rüstəm to such Afghan luminaries as Ahmed Zair. Included in this collection, ‘Əfqan Musiqisi’ is inspired by a track on a mixtape his Afghan student pal made for him. As an honour to him this pining song includes the heartfelt lines, “Let’s meet each other again, my friend, because separating is like unexpected death.” It sounds, as does most of his music, like a cross-pollination of influences; a Silk Road lament of bobbed hand drums, threaded lute and synthesized moaning choral voices. That synthesizer patch work is an integral part of the music by the way; a cheap sounding keyboard theatre of misty gazing ambience, punctuation of bass and percussive rolls that accompanies the often rapid, if elegant, nimble guitar performances.

 

Imbued both by doyens of the country’s “gitara” scene, including fellow Karabakh legend Rafiq Hüsey (aka Ramis), yet experimenting himself by refashioning a Jolana Czech guitar, Rüstəm managed to craft a unique merger of the past and present, the traditional and innovative. It helped that he came from a family of engineers, and with his brothers was able to set up a home studio. You can, if inclined, read more details about his tweaks, tunings and such in the liner notes provided by the album’s compilers Ben Wheeler and Stefan William. But in short, his style incorporated a wealth of inspirations, even wider than those already mentioned. For example, you can hear that wealth of influences on both the scenic searching, rough ’n ’ready Persian blues and rock number ‘İran Təranələri’, and the misty-eyed classical, popular Iranian street number, ‘Fars Musiqisi’ – the former via a transmogrified Niles Rodgers. Looking towards India, a famous Bollywood song imbues the strangely windy, horn heralding Western gallop ‘Tancor Disko’: imagine Pino Ruches riding shotgun with Ry Coder and Link Wray. Rüstəm transforms the highly complex classical poetic and improvised folk traditions of the country’s Mugham culture with the silken courtly, echoed fret work of ‘Neyçün Gəlməz’, and replaces the saz for his rapid guitar riffing on the Baba Zula like psychedelic ‘Yanıq Kərəmi’ and 80s sheened wedding dance ‘Baş Sarıtel’.

A caucuses Dick Dale, Omar Souleyman, Hank Marvin, perhaps as some people have proposed, even a touch of funk Mardi Gras Eddie Hazel, Rüstəm was an extraordinary gifted guitarist; one that could riff and strangulate, wrangle a constant trickle of quickened notes and multilayering, resonating poetry. Often he mimics a voice, at other times the lute or saz, yet always sounds mesmerizing and untethered. A rich showcase indeed, it’s time to traverse the Transcaucasia, the Steppes and beyond for those bored with western guitar slingers. Dip your toes into a whole unique and heartening guitar landscape.






Maalam Mahmoud Gania ‘Aicha’
(Hive mind Records) Album/October 2020




After various cultural excursions in South America, Arabia and West Java, Hive Mind Records return full circle to the “Gnawa” music that launched them with a striking reissue package of the beatific Aicha album by the form’s late great doyen Maalam Mahmoud Gania. It was of course Gania’s final studio album Colours Of The Night that first kicked off the label a few years ago. Now, picking up on that saintly venerating Moroccan music again, and in collaboration with Gania’s family, the label have chosen this moment of great turmoil (you could say it was a calm, healing balm just when we needed it most) to release a previously shrouded 90s cassette tape of entrancing communion and invocations from an artist rightly celebrated for pushing Gnawa beyond his hometown of Essaouira to an international audience. For one thing, Gania is celebrated for, perhaps, releasing the first ever Gnawa record, but also for working with such luminaries as Pharaoh Sanders, Bill Laswell and Santana.

The Islamic spiritual devotional poetry, dance and music of the Gnawa ethnic group – a group of Sub-Saharan people descended from slaves – this trance like sound is said to be one of the roots of the “blues” rhythm. Though a scion of the Islamic faith, this music is less restrictive in paying devotion and paean to a host of earthly saints and supernatural “mluk” (or “melk”). These abstract entities, the mluk, are represented by seven saints and seven colours; colours that “entrancer” dancers can wear in the form of robes or scarves. On the album’s bluesy, even jazzy threaded ‘Assamaoui’, those trancers wear blue in reference to the song’s sainted “Sidi Sma” (or “Samaoui”) and their implied ascendant relationship to the sky.

 

Gnawa is, in short, a music, culture of displacement because of its origins, but taken hold in Morocco, especially Gania’s home the key port of Essaouira, a strategically important fortress trading port on the country’s western coastine with the Atlantic. Gania’s home is where this set of recordings was made with an intimate setting of musicians. Though information remains scant, Berkley scholar and curator of the Moroccan Tape Stash blog Tim Abdellah attempts to dig deep and uncover the details; invited as he was to write the extensive liner notes and context for this special reissue. In fact, I’ve learnt a hell of a lot from his writing and scholarly notes on the subject. There’s even a translation of the exonerating call and response lyrics, which are often short lines of veneration for sainted shrines and deities that can be both combined with or sung in any order depending on occasion and mood.

Aicha, itself a reference to “she of many monikers”, a powerful female entity with untold mythical origins, is rich with the anticipated quivery strums and throbbing tensions of Gania’s “gumbari” – a camel-skin covered three-string lute. Bowed, stringy and incessant, but gentler and deeper than his playing on Colours Of The Night, Gania’s signature instrument weaves a nice bluesy accompaniment to his soulful exaltations. As always Gania’s gumbari lead is joined by the scuttled, scratchy tin paddled percussive rhythm of the iron castanets, the “krakebs”. It makes for a lively but soothing liturgy of entrancing adulation and praise.

Hypnotizing as always, with the galloping kept to a minimum, this spiritual six-track album is a Gnawa highlight, and a great place to begin discovering this immersive and special music. The label’s done another first class job of bringing this to a wider audience.





See also…

Maalam Mahmoud Gania ‘Colours Of The Night’  (here)

Houssam Gania ‘Mosawi Swiri’  (here)

Moulay Ahmed El Hassani ‘Atlas Electric’  (here)

Rodrigo Tavares ‘Congo’  (here



Hi, my name is Dominic Valvona and I’m the Founder of the music/culture blog monolithcocktail.com For the last ten years I’ve featured and supported music, musicians and labels we love across genres from around the world that we think you’ll want to know about. No content on the site is paid for or sponsored and we only feature artists we have genuine respect for /love. If you enjoy our reviews (and we often write long, thoughtful ones), found a new artist you admire or if we have featured you or artists you represent and would like to buy us a coffee at https://ko-fi.com/monolithcocktail to say cheers for spreading the word, then that would be much appreciated.

Reviews/Brian ‘Bordello’ Shea




The cult leader of the infamous lo fi gods, The Bordellos, Brian ‘Bordello’ Shea has released countless recordings over the decades with his family band of hapless unfortunates, and is the owner of a most self-deprecating sound-off style blog. His most recent releases include The Bordellos beautifully despondent pains-of-the-heart and mockery of clique “hipsters” ode to Liverpool, the diatribe ‘Boris Johnson Massacre’ and just in the last month, The King Of No-Fi album. He has also released, under the Idiot Blur Fanboy moniker, a stripped down classic album of resignation and Gallagher brothers’ polemics.

Each week we send a mountain of new releases to the self-depreciating maverick to see what sticks. In his own idiosyncratic style and turn-of-phrase, pontificating aloud and reviewing with scrutiny an eclectic deluge of releases, here Brian’s latest batch of recommendations.



Ludwig Dreistern ‘Linda/New Oddity’
(Ikarus Records) Single/Out there now


The debut single by Ludwig Dreistern does have a touch of Granddaddy about it and that can only be a good thing surely. It has the same hushed whispered vocal style and the off kilter like psych synth lines they used with a sparing relish that for a short time in the late 90’s was the rigour: it was the thing to flourish at alternative parties by those who loved to dress in black and say such things as “Mercury Rev are to die for” and such…honest I kid thee not. So relive those days of student splendour and working in a record shop at Christmas with this two-track bevy of Granddaddy like remembrance: you will not be sorry.






Loverground & BB Sway ‘About You’
Single/Out There Now




There is something quite Prince-like about this lovely piece of pop fluff. The kind of fluff that sticks to your cardigan and no matter how many times you think you have flicked the litter blighter away you look again and there it is still attached and growing until it reaches a badge like status that you eventually wear with pride; it is always there, always there as a reminder of something so small that means so much to you and makes you smile to yourself: a piece of fluff you never ever want to live without.




Hiroki Tanaka ‘Inori’
Single/Out there now




This track is a fine slice of musical beauty wrapped in a sweet chocolate like covering of yearning sadness. A song to serenade your dark side into a soft becoming ball of slush with a Radiohead-becoming-The Beatles like melody that sucks you in, and, doesn’t spit you out but just hugs you with a gentle rocking slumber of your most darling hopes wishes and dreams. I bet the forthcoming album is going to be a gem.






Lou Terry ‘If I’m Me Who Are The Other One’
(Metal Postcard Records) Album/Out there now




A shallow bathe in the lost beauty of misery and of love lost and found, the power of gentle melodies and the light touch of the lyrical twist really cannot be underestimated, and the master of all those things is Lou Terry whose new album is brimming with songs full of those qualities.

Recorded over the lockdown, like so much of the new music I’m listening to, it is graced – well with the grace and understanding and sublime loss that normally can be found in the outpourings of 80s Go Betweens and the obscure 70s home recordings of John Lennon. When Lou Terry’s voice cracks it is thing of true beauty as it does on ‘Sickly Peach’. You wonder how on earth he is not better-known; it has the same effect as spying a long-lost lover across the street and her shyly smiling the smile that breaks the passing of the years and in an instant you are eighteen and beholden, you are completely lost and once again under the power of her magical spell. And the beauty of this album achieves all this. It almost wants you to feel broken and betrayed lost and bewildered. If I’m Me Who Are The Other Three is the album to soundtrack the oncoming melancholy of Autumn nights; a thing of great beauty.






James PM Philips ‘Manikhana’
Single/Out there now




This is a rather wonderful beast of a track, a lo-fi adventure of pure undiluted home recorded psych; one that brings to mind the off-kilter joy of Skip Spence’s masterpiece Oar, or the magical musical workings of Craig Smith/Maitreya Kali. A song to chant to your own personal god, be it a badly buttered slice of toast or the mythical goddess of pop Deborah; a true work of off the cuff musical madness, one that should be both lauded and applauded. Great musical outpourings indeed.






Lo Tom ‘LP2’
(Self-Released) Album/11th September 2020




Polished Mary Chain-like guitars played by Bryan Adams kick off this self-released [a round of applause for Lo Tom] album of alt rock, and although it attempts nothing new or revolutionary this album it is no worse and a lot better than a lot of the Alt Guitar rock music I’m sent to ponder over. It has a certain bombastic melodious appeal that the Icicle Works sometimes achieved and the emotionally charged exuberance a lot of people will find rewarding. Although not the kind of album I’d normally choose to listen to I can think of a lot of people who will really enjoy this album of well worked alt guitar rock. So if bombastic alt guitar is the kind of thing that rocks you Daddy-O I would advise you to give it a listen.



The Green Child ‘Low Desk: High Shelf’
(Upset The Rhythm) Single/Out There Now




This lovely piece of synth poppery is a fine example of how pop music is still alive and kicking in 2020: A song built on such a floating-on-the-air synth riff it could have kept the Titanic afloat. Beautiful melodies, whispery soft as silk fragile vocals combine to give three and a half minutes of perfect pop.






Feral Wheel ‘The Dolphin Way’
Track/Out There Now




The second track from the rather marvelous newish Liverpool band Feral Wheel takes us drifting back to the late sixties, when the lazy guitar sounds of Arthur lee and his merry band of Love ruled the roost. There is something quite magical about great Liverpool guitar bands and trust me the Feral Wheel show all the signs of being a great Liverpool guitar band. They have the air of woozy stoned- out summer afternoons, of an 1980s stroll down button street after spending far too long deciding which volume of Pebbles the Garage rock comp you were going to buy from the old Probe records store; the sun was always shining the girl you was with was always beautiful, your friends full of wit and a shared excitement for the future, and there was always the music, music like the Feral Wheel to soundtrack the passing of those late summer days, quite sublime sounding like the Feral Wheel.






Agent blå  ‘Frustrated’
(Kanine Records) Single/Out there now




A Gothic like pop subculture melts into Wayne Hussey’s out-stretched arms in a riff ridden glory ride of a skinny dipped PJ Harvey. Pink hi ho silver away tear dropped shaped memory of a gurning John Peel dressed in spurs and a cowboy hatted joker of dead eyes and frippery. Yes those were the days nobody ever mentions anymore. A fine single none the less…and yes, if you put it close to your ear I am sure you will hear the ocean.




Floodlights ‘From A View’
(woo me!/spunk) Album/28th August 2020




Americana from Australia – shall we call it Australiana -, which is the sound of Billy Bragg playing the near hits and misses of the Go Betweens or vice versa if you like, either way what we have here are ten very well written songs of heartache and its many varieties. Guitars that jangle and solos like an escaped riff from Primal Screams Velocity Girl whilst twirling with gay abandon with the dark wistfulness of the well composed lyrics. I also love the boy girl vocal interaction on the album; they do it very well, it fits together with a charm like a forced in piece of a jigsaw puzzle that does not mean to go there but looks better anyhow and gives it a unique look of its own. Oh I do like this album it reminds me of a down at heel Triffids and one cannot pay a higher compliment than that believe me.





REVIEWS/Brian ‘Bordello’ Shea





The cult leader of the infamous lo fi gods, The Bordellos, Brian ‘Bordello’ Shea has released countless recordings over the decades with his family band of hapless unfortunates, and is the owner of a most self-deprecating sound-off style blog. His most recent releases include The Bordellos beautifully despondent pains-of-the-heart and mockery of clique “hipsters” ode to Liverpool, the diatribe ‘Boris Johnson Massacre’ and just in the last month, The King Of No-Fi album. He has also released, under the Idiot Blur Fanboy moniker, a stripped down classic album of resignation and Gallagher brothers’ polemics.

Each week we send a mountain of new releases to the self-depreciating maverick to see what sticks. In his own idiosyncratic style and turn-of-phrase, pontificating aloud and reviewing with scrutiny an eclectic deluge of releases, here Brian’s latest batch of recommendations.


Violent Vickie ‘Division’
Album/4th September 2020


Thank the lord for the splendid Violent Vickie and her love for waving darkly at both inanimate and moving objects, for what we have here is a dive head first into her musical synth art of an album: the place where synths whoosh and drum machines do the noise drum machines make, which on the whole is much preferable to the sounds a drummer makes and without less sweat, unless Prince Andrew was the drummer that is and if that was the case someone should warn young Victoria to watch her back and front and all her other areas for that Prince is a bad un.

But what we have here in fact is a royal treasure of an album; an alternative disco Goth delight of an album; one that builds and interjects with an atmospheric grace most dark wave releases [yes and I hear plenty of those; most I ignore] would love to achieve. What moves this album up a notch from 99 per cent of all the other alternative dark synth dark wave that comes my way is Violent Vickie’s grasp of melody and the catchy synth riff, ‘The Blame’ track being a prime example, a riff that weaves its merry way throughout the track without overstaying it’s welcome.

There is also a slightly “ok I am about to lose it feel” about the songs; the “yes I am teetering on the edge and I am not sure what way I am going to fall” feel; a feel I fully support, recognise and understand and which gives the music a touch of “this is my real life, my art, not me playing at being a pop princess” and I have no doubt pop princess is something Victoria could become if that was her want as she has the panache of a Peaches or Miss Kitten when the dark wave succumbs to the total disco glitterball of all the underlying influences this album possess; all but exploding on the sultry ‘Secret Wife’, a song that reeks of glorious seedy glamour.

This album is a wonderful rare thing not just a dark wave album I will want to listen to again but one I could also dance to, but that is a sight I would not force on anyone or anything living or dead: a dance I would name the Violent Vickie. And yes, this album Division is a true joy… [sorry could not resist].





See also…

Violent Vickie ‘The Blame’ Single Review



The Hannah Barberas ‘Fallow Days’
EP/13th August 2020




All the money made from this lovely jangly EP of sublime summer pop songs go to a food bank Lucy from the Hannah Barberas works at, which is reason enough to give it a spin. Four songs that are jangly and pop affirming: I would have said life affirming, but pop music is life to so many of us and this EP proves what a wonderful life pop life is with songs that have the spirit of C86 running through them. For all lovers of Orange Juice, June Brides even Belle And Sebastian and all those other bands we indie poppers love will in no doubt embrace this fine work of indie popdom.





See also…

The Hannah Barberas  ‘Into The Wild’ LP Review



Death By Unga Bunga ‘Trouble’
(Jansen Records) Single/Out Now





I like this, but then I do have a soft spot for songs with power, fun and melody, and this track has all of the aforementioned. A song that will send you spinning back to the days when power pop was briefly en vogue in the late seventies’, early eighties. Yes it almost has me wanting not to finish writing this short and sweet review and nipping onto Youtube and get misty eyed over the hits near hits and misses of The Motors. A lovely little nugget of the power pop variety.






Occult Character ‘Race To The Grave’
Track/Now





It is great to see that Occult Character is finally getting some recognition and radio play from WFMU-FM in America; a man who I’ve been writing and raving about for a couple of years now: although John Robb will probably claim to have discovered him at some point in the future when he actually gets round to hearing him.

So once again we have a under two-minute slam-dunk of a track spraying piss over the state of America and its current failings. Occult Character releases far too much material to actually stay up with him and is probably doing himself a disservice, so by the time this goes to press no doubt there will be another dozen or so tracks to marvel, laugh and cry over.





See also…

Occult Character  ‘Steve Albini’s Kundalini’ LP Review

‘Cult Of Ignorance’ Mini LP Review

‘Chittering Noises’  LPs of 2019


Various ‘Songs Of The City Of The Four Faces – Cambodian Music Of The 60s’
(Metal Postcard Records) Album/19th August 2020





I admit I know nothing about Cambodian pop music from the 60s, so I jump into this album with a little trepidation. But I’m a great lover of 60s beat music and garage rock and 60s pop and spend many a hour delving into the vaults of time unearthing forgotten gems, so I have high hopes. And I’m not disappointed with what I find. What I discover is that this is a treasure trove of 60s hip swinging beat magic; a treasure trove of groovy basslines enthusiastic backing vocals; wonderful cheap sounding 60s guitars, the kind of guitar you would pay a fortune for today; and warm Hammond organ sounds, the kind Clint Boon no doubt has wet dreams about and in the case of the track ‘Kanha Roup Sros’ by my fave of the 5 artists Ros Seresysthes, a horn led little beauty Dexy’s would release 20 years later. In fact I’d say that but Pen Ron could well be my fave newly discovered artist; pure undiluted pop genius from strange psych to out there beat pop magic to melodramatic horn led soul. On the whole this album is one of pure joyful discovery and one I would recommend to anyone even with a passing interest in 60s pop /beat music.





See also 

The Cambodian Space Project ‘Whisky Cambodia’ LP Review (Ben P Scott)

Various Artists  ‘Khmer Rouge Survivors – They Will Kill You, If You Cry’ Albums of 2016 (Dominic Valvona)



Hi, my name is Dominic Valvona and I’m the Founder of the music/culture blog monolithcocktail.com For the last ten years I’ve featured and supported music, musicians and labels we love across genres from around the world that we think you’ll want to know about. No content on the site is paid for or sponsored and we only feature artists we have genuine respect for /love. If you enjoy our reviews (and we often write long, thoughtful ones), found a new artist you admire or if we have featured you or artists you represent and would like to buy us a coffee at https://ko-fi.com/monolithcocktail to say cheers for spreading the word, then that would be much appreciated.

Album Reviews Roundup/Dominic Valvona






In-between lockdowns the only good news is that at least this month and next is shaping up to be the busiest months in 2020 so far, with a significant rise in the number of releases. And so, just scratching the surface, I’ve picked out just a smattering of interesting and brilliant albums from the thousands that the Monolith Cocktail receives each month.

German contemporary electronic music pioneer Stefan Schwander under the Harmonious Thelonious title, creates a new sophisticated polygenesis dance album of itchy scratching no wave, the tribal and industrial for the Hamburg label Bureau B; a survey of various contemporary experimental artists come together for charity to interpret the amorphous Plague Score graphic score of Nick Gill; Japanese underground luminary Phew releases a sort of mixed compilation of new material and unreleased sessions from her 2017 album’s Light Sleep and Voice Hardcore for the Disciples imprint. Lurking in the jazz-fusion subterranean, a new project from classically leaning producer and guitarist Leo Abraham and jazz drummer Martin France and their ensemble of collaborators, is the latest release on Glitterbeat’s experimental instrumental imprint tak:til. Krononaut converges the avant-garde with post-rock, post-punk and krautrock. Sometime Roedelius foil Andrew Heath releases yet another understated ambient sound collage of the real and imaginary for the Disco Gecko label; the patient escapist ‘The Alchemist’s Muse’. The Israeli-Russian collective Staraya Derevnya release a treble album haul, though I’m concentrating on the marvellous culmination of improvised performances pieces and additional material avant-garde krautrock folk Inwards Opened The Floor.

Handling the pandemic and escalating divisive free fall with spite, energy and violence, there’s the new Map 71 album, Turn Back Metropolis, and a barricade breaching, loud and primal return for the Young Knives with their first full-on album in nearly seven years, Barbarians.


Young Knives ‘Barbarians’
(Gadzook) Album/4th September 2020


Hurtling back from a four-year hiatus with a barrage, the brothers Dartnall unleash an angry firestorm of a dystopian album; the first fully realised collision since 2013’s Sick Octave.

The now not so Young Knives have been busy sharpening their sonic disconsolations in all that time, ready to pounce with an attack on the senses; reappearing at a most depressingly divisive time. Not that there hasn’t been more than enough material to keep the Knives awake at night, but they’ve been inspired to light the fuse by reading up on the apocalyptic philosopher/writer John Gray’s resigned tract on the illusions (as he sees it) of self-determination, Straw Dogs, and the controversial professional man-hater Valerie Solanas and her patriarchal death-knell, the S.C.U.M. Manifesto (an abbreviation of the Society For Cutting Up Men). In what’s said to be their most “cathartic” and “noisy” release yet, the self-confessed nihilists and miserablists have channeled the Clockwork Orange borstal of primal savage human nature, as explored in Gray’s polarizing theorem, and Solanas’ (what some critics and commentators consider a clever parody, even satire of “the performance of patriarchal social order it refuses”; though attempting to murder Andy Warhol, and by association the American critic Maria Amaya, puts a damper on that suggestion) utopian pipe-dream to knock seven bells out of the indie-dance and post-post-punk blueprints.

Essentially, as the title makes clear, despite all our graces, technologic advances and awareness, humans have never lost their barbaric cruelty. Is this just part of our nature and makeup? And if so, how do we live with it? It’s a quandary that hasn’t diminished over time, and a fate amplified in the pressing destructive times of 2020; a cold war of ideals, divisive politics kindled by a raging pandemic. And so, you can expect an explosive despondency from the Knives as they tear up and skulk through the debris.





It starts by plowing into a sustained menacing buzzy and harassed krautrock like grooving thrust merger of Techno, Siouxsie’s Banshees and PiL (Henry Dartnall will use will Lydon’s signature cocky sneer and haranguing rage throughout this Molotov hurling album), and continues to caustically cut-up a barreling and marching rant of These New Puritans, Scary Monsters and Outside era Bowie, NIN, the Chemical Brothers, Death From Above 1979 and The Slits. There’s even, I might suggest, a hint of supernatural Alex Harvey, albeit jazzed-up with rollicking Bloc Party drums, on the creeping witchery ‘Jenny Haniver’. I’m not surprised it has a daemonic esoteric feel, as the title refers to the ghastly unnatural looking mummified carcasses of rays and skates that have been dried-out and modified to resemble fanciful creatures like dragons and demons.

Brutality is everywhere, with samples of audio from a bare-knuckle brawl on the tortuous fist-clenched whirlwind title-track, and a squall of harsh and heavy breakbeats and alarms constantly rattle the cerebral. Yet breaking the barbarous grind and bounce are moments of brief relief: the venerable and prayerful female chorus on the ‘Holy Name 68’’ vignette (a distorted calm from the past), and the milder relief of a vague brass band finale serenade on the previously Blurt honking post-punk ‘Slashed What I Saw’ curtain call.

Henry shouts that the “scum will inherit the earth” and other such sloganism, knowing full well his rage will inevitably dissipate as the barricades come tumbling down once more. A future hell on repeat, the Knives at least have a good go at firing up the audience; it’s a noise and row that has been largely missing in the music world, and proves the perfect poisoned tonic for these end times. It’s good to have them back.






Phew ‘Vertigo KO’
(Disciples) Album/4th September 2020





In case you haven’t been introduced to the avant-garde voice iterations and various drone landscaping experiments of the Japanese artist known as Phew, then this new and unique compilation of her personal sonic statements and moods is both an eye-opener and a good place to start.

Phew’s entry into this field started with the instigation of the Osaka psychedelic-punk group Aunt Sally in 1978, which she fronted until their brief but influential burnout just a couple of years later. During the next decade Phew would work with an enviable cast of experimental doyens including Ryuchi Sakamoto, Alex Hacke of Einstürzende Neubauten fame and DAF’s Christo Haar, and also making an album with the illustrious Can pairing of Holgar Czukay and Jaki Leibzeit and legendary producer Conny Plank. Fast-forwarding to the noughties and the underground pioneer has performed live and recorded with The Raincoats’ Ana Da Silva, Jim O’Rourke and Ikue Mori and Yoshimi of the OOIOO/Boredoms/Saicobab arc of ensembles. Quite the providence, it’s a back catalogue that can be heard suffused throughout the latest collection of specially recorded new material, unreleased works from Phew’s two most recent solo album sessions (2017’s Light Sleep and Voice Hardcore) and a, removed from its original disjointed source, cover version.

Framed by the artist herself as “An unconscious sound sketch…” and as “personal documentary music”, Vertigo KO is a special kind of compilation. Forward thinking, progressive rather than looking back, the tracks on this album can’t be dated or easily linked back to those previous works. It sounds in fact like a new work entirely, made in the moment, all at the same conjuncture of creativity and thought. The label Disciples has already put out a limited edition cassette, Vertical Jamming, of Phew’s “long form drone work”, but this collection seems untethered, themeless concept wise and musically. Well that’s not entirely true, Phew states that her last two albums from which some of the martial has been lifted is personal and not an attempt at a “worldview”: the overall undercurrent and hidden message being “what a terrible world we live in, but let’s survive”. Phew seems to convey this survival by counterbalancing ascendant crystal rays of nature and heavenly with mysticism, otherworldliness and ominous Sci-fi: The skying drones and refractions that build towards a cathedral in the clouds on the opening ‘The Very Ears Of Morning’ evoke the beauty and enormity of nature’s first light. Yet by the second track Phew has transmogrified the loose post-punk slumbering Raincoats distress ‘The Void’; transporting the bare bones to a neon-futuristic industrial setting, ala Bladerunner.

Some of the more truly “out there” avant-garde moods involve various vocal repetitions and multi layering. These voices, intonations and peculiar annunciations can be in the form of obscured incantations (as they are on the vaporous hive humming consciousness mystery ‘Let’s Dance, Let’s Go’), vowel stretching (on the dial twisting ‘All That Vertigo’) or monastic (on the mystical Buddhist/Shinto call to prayer vacuum ‘Hearts And Flowers’). Sometimes it’s used as a rhythm, at other times as a lingering trace of yearning from the “void”.

Phew’s amorphous sonic sensibilities exist both in the metallic gauze of space and in more concentrated earthly reverence. A pioneer of the form, the Japanese icon of the underground continues to produce some of her strongest work as a new decade beckons, birthed in a pandemic. The signatures, reference points and mode will be familiar to those already well acquainted with the Phew’s varied catalogue, yet Vertigo KO offers some sublime and inventive surprises to be an essential edition to the collection. Those unfamiliar would do well to experience this set of suites and then work backwards.




Krononaut ‘Krononaut’
(tak:til/Glitterbeat Records) 4th September 2020





Out on the peripherals of identifiable jazz-fusion the newly assembled Krononaut ensemble conjure up a mysterious extemporize performance on their debut vision for Glitterbeat’s highly experimental instrumental imprint tak:til.

Instigated, led by producer and guitarist Leo Abraham (who’s contextual guitar lines can be heard on Eno’s sublime Small Craft On A Milk Sea LP) and drummer Martin France (who’s played with, amongst others, Nils Petter Molvaer and Evan Parker) but methodology wise a democratized unit that embraces the atmospherical leanings and peregrinations of its extended lineup of collaborators, Krononaut was created out of a musical disciplinary challenge: To converge Leo’s classical sensibilities and learning with Martin’s jazz background. The results of which linger, spiral and prowl in an abstract subterranean space of hybrid jazz, Jon Hassell’s possible musics, krautrock, post-punk, post-rock and, at least in part, are informed, inspired by the unique rhythms found in the Madoh Shamanic funeral music of Tajikistan.

Recorded in London last year over two sessions, the inaugural featuring multi-instrumentalist Shahzad Ismaily (from Tom Waits to Laurie Anderson) on bass, the follow-up, the enigmatic saxophonist Matana Roberts, Swedish trumpeter Arve Henriksen and on bass duties too, Tim Harries, the Krononaut album reimagines a musique concrete Miles Davis, Sam Rivers and Grachen Moncur III skulking a masked, mournful to a point, ether that once in a while floats into the ethereal (in evidence on the diaphanous aria veneration ‘Vision Of The Cross’).

Navigating dark recesses in a spidery probing with the bass on the shadowy ‘Location 14’, and evoking their label mates Pulled By Magnets on the semi-industrial, cavernous and falling ‘Power Law’, this ensemble creep into post-punk; sounding like a transmogrified deconstructive PiL. Yet despite this the Krononaut’s are never so disjointed, dark or brash as to raise the volume above the discordant or even delicate; nothing runs away or untethers itself completely from the musicians’ grip.

Vague bursts of Guru Guru, drifting Eastern horns and filmic qualities drift in and out of serialism vaporuos industrial soundscapes and odd primal lagoons. Sporadic fits of propulsive drummed rhythms materialize from these non-liner recordings, but for the most part we’re strung out in the stresses and entanglements of composed, sophisticated avant-garde explorers: jazz and those classical leanings only really play one of many parts to this conjuncture of elements.

Ponderous, stalking, lolloping, spiritual, fluctuating – an exercise in relearning and discovery in fact – the Krononaut album of fourth world like experiments is free of limitations. It’s a project that escapes, even defies, categorization; another congruous fit with the ethos of the tak:til label.






Harmonious Thelonious ‘Plong’
(Bureau B) 28th August 2020





Fitting congruously within the Bureau B label family, Stefan Schwander’s inaugural album of sophisticated minimalist dance music for the Hamburg platform chimes with its roster of German experimental electronic pioneers; from Zuckerzeit candy era Cluster to the deconstructive Populäre Mechanik and the more contemporary Pyrolator.

More or less ten years into his Harmonious Thelonious alter ego, Schwander now offers a more “industrial sound” made from concrete objects vision of his American “minimalism” convergence with African rhythms and European melodies signatures. Inspired in part by the iconic Basle club of Totentanz, where the German electronic artist spent some of his misspent youth catching performances by the no wave dance act Liquid Liquid, the Gun Club, Jonathan Richman and a very young Aztec Camera, the Plong album channels some of the atmosphere and nostalgic vibes of those formative years. The club is immortalized on the final track; a sort of tribal beat with a barely audible hooted dance track that could be described as “intelligent” techno for the soul. In fact, the Liquid Liquid reference, or at least that vibrant post-new wave dance sound that they excelled at, can be heard permeating tracks like ‘Höhlenmenschenmuzik’; a multi-textural bass pronounced no wave dance of Carl Craig and Kriedler, the title of which translates as “caveman music” and evokes atavistic cave daubings leaping off the dank walls and vibrating, dancing like a host of Keith Harring characters bouncing down a NYC boardwalk.

Elsewhere amongst the deep Detroit techno and house music the tubular and knocking mettalics, tight delayed electronic sequencing and cleverly layered kinetics and mirages of a mysterious Arabia can be detected on the opening desert sands ‘Original Member Of A Wedding Band’. An obscured xylophone or marimba somehow captures an air of Africa on the lightly malleted and translucent itching vibrant ‘Geistertrio Booking’, and the staccato clumsy motioned ‘The Roller’ features a quasi-bobbing West African rhythm.

The tribal is subtly transformed into a futuristic suspense; 80s electro and no wave dance is twinned with lurking industrial electronica; bubbling concoctions float across mechanical refractions on a meticulously constructed deep dance soundtrack of multiple interesting rhythms. Plong, which could be a title Harmonia/Cluster may very well have used, fits perfectly with the Bureau B vibe, yet cuts a clean polygenesis electronic dance sound of its own.




Various ‘Plague Song’
(Via Bandcamp) Album/14th August 2020





A plague has descended on all our houses it seems, with no corner of the globe left untouched by Covid-19. Yet not so much a plague in either the Biblical sense or even a 1000th as destructive as the Black Death that left populations decimated Covid-19 predicted effects and the measures being used to contain it and our civil liberties is proving more destructive and stressful. As lockdown lifts for some, only to be reintroduced as clusters break out in localized areas, and thoughts and anxieties can be translated, we’re seeing creatives release their cathartic impressions and traumas.

One such contextualization, instigated by the North Yorkshire based composer, multi-instrumentalist, solo artist and member of Fireworks Night and The Monroe Transfer ensemble, Nick Gill brings together a international cast of experimental artists and composers to interpret the project leader’s pencil-shaded abstract ‘Plague Song’ graphic score. Following in the footsteps of John Cage who first pioneered the concept, Gill sketches a roughly hewn amorphous score that offers a freehand to those invited to respond. With no instructions as to duration, instrumentation or performance style it’s entirely down to the artists to conjure up something evocative; a sonic representation from the elongated funnels and arched lines found beneath sharper cross-hatching scribbled noise. The author of that graphic score does offer his own interpretation however; offering a suitably atmospheric and watery composition of Craig Ward like multi-textural guitar reverberations.

Erring towards the perimeters of ambient, neo-classical and experimental music the guests on this charitable compilation (proceeds going towards Médecins sans Frontières) produce some searching visions of the present mood. Carrying on the imbued literary (Anthony Burgess to Joseph Heller) cross chatter and abstracted resonance of his many sonic adventures in India and Southeast Asia, Oxford polymath Seb Reynolds cuts-up and morphs a recurring “not as fatal” line with the sound of veiled Orient and tram clatter on his take of the score. Others, such as the renowned NYC stage, film and even opera composer Nico Muhly, produce something more sublime and trembling; the composer behind soundtracks for The Reader and Marnie glides towards a skying ascendance of rippling ambient beauty.

In the quasi Sci-fi mood, electronic composer and performer Hainbach generates some strange off-world atmospheres and primal lunar threats with his interpretation: evoking, I think, Bernard Szajner’s Dune imagings. The spherical Canadian team-up of musician, activist and producer Rebecca Foon and Polaris Prize winning singer-songwriter, producer Patrick Watson prove a congruous pairing, offering up an almost cosmically heavenly searing soundtrack of voices obscured in the vapour.

The track list is numerous; too numerous to mention everyone, so I’ll just mention a few more highlights and standouts. Tiece beckon with a signature “witchery” and “smoky” trip-hop soulful jazzy vision that evokes a warped Four Tet, whilst vocalist, sound artist David Michael Curry goes for something more supernatural, strung-out, with his added locational cryptic post-rock bluesy “scene report from Somerville Masc.” And perhaps one of the oddest interpretations, double-bassist and organist composer, arranger Ben Summers takes the listener through shades of South America, jazzy cocktail hour club soiree and 60s Italian soundtracks: a million miles removed from the compilations leitmotif of shared mysterious ominous drones and recondite ambient carpeting.

Gill’s original graphics are lent a swathe of interpretations, some less somber than others, from a cosmology of contemporary composers. A survey of mood pieces, from science fiction augurs to introspective concentrations. Yet seldom does the soundtrack wallow in the darkness, or creep into nightmares, which considering the title seems both optimistic and a relief. Plague Song is a worthy embrace of the uncertain; a translation of abstract stress and danger given an expansive treatment.






Map 71 ‘Turn Back Metropolis’
(Foolproof Projects/Fourth Dimension Records) Album/4th September 2020





Just the sort of J.G Ballard and Anthony Burgess flavoured dystopian claustrophobia we need in these pandemic striven times; the estuary high-rise colliding duo of disillusioned poet and artist Lisa Jayne and pounding sonic foil Andy Pyne deliver a skulking barrage from the edges of the inner city and suburban wastelands. Under the Map 71 cover they release a fifth album sound-clash of post punk electronica, no wave, post Krautrock and tribal industrial music.

Turn Back Metropolis finds the urban-planners of derision and concrete hardened social realism back in the stairwells and landings of a decaying omnipresent city, dreaming of escapism: “The fields are in sight of the city, but there’s a curfew and the city waits for your return.”

Against the stench of this imposed backdrop of societal misdemeanors, the grime of everyday existence is lyrically and starkly drip-fed by Lisa over beating toms, slinking dub, sporadic drumming, alarmed synths, contorted metals and London swagger. Lisa channels a petulant Ari Up and Viv Albertine, whilst Andy, at any onetime, conjures up an accompaniment of Cabaret Voltaire, Fad Gadget, PiL, The Au Pairs, Lonelady, 80s Rick Rubin and The Classical.

Seething yet composed, they stalk their subjects like prey through the entrancing, spiraling and more cutting on a futuristic punk album of malcontent. Tracks such as the squalling, speed-shifting, arcade-fire over-surge ‘Highrise’ can induce vertigo, and the rattling ‘Stitches’ evokes a seedy switch-bladed administered trauma. Descriptively as livid as it is poetically brilliant, with a musically edgy, harrowing but crafted sonic accompaniment to match, Map 71 delivers another sinister violent architectural imposing shockwave.





Related posts from the Archives:

Map 71 ‘Sado-Technical-Exercise’ Review



Andrew Heath ‘The Alchemist’s Muse’
(Disco Gecko) Album/4th September 2020





Carrying the torch for the kind of ambient and neo-classical swathes and calmly evolving ruminations pioneered by such luminaries as Roedelius, Andrew Heath is a maestro of, what he calls, “small-case minimalism”. Lucky enough to work with the self-taught acolyte and co-founder of the electronic music and kosmsiche legends Kluster/Cluster/Qluster arc, Heath has obviously picked up some ideas from the best in the field. The English composer of refined, understated evocations collaborated with Roedelius on both the Meeting The Magus and Triptych In Blue suites.

The “magus” pupil has become the “alchemist” on this latest exploration of minimalism, texture, tone and the “sonic detritus that litters our environment”. Using, as ever, a kind of English pastoral and esoteric poetry to reference moods and locations, as well as the sources of some of his field recordings, Heath counterbalances his naturalistic settings with delicately played (but deeply felt) piano, resonating electric guitar, and on the album’s title track the swan like and sonorous bass-clarinet of guest Bill Howgego, and of course the various apparatus that transmits those soft, veiled ambient tones and gossamer atmospheres. This translates into translucent compositions that merge the intercom chatter of a pilot’s radio with dropped bauble piano notes and stratospheric gliding, on the opening piece ‘Observers And Airmen’, and the squawk of a woodland menagerie and running water with Eno-esque pining scenic mystery and alien wiry quivers, on ‘Of Mill Leats And The Walter Meadows’.

Hints, traces of voice can be found throughout, but its Heath’s second guest, Romanian poet, writer and journalist Maria Stadnika, who offers the most fragile and emotional. Returning, after appearing on heath’s 2018 Evanfall album, Stadnika’s sighed wistful whispery ‘The Garden Reveals Itself’ receives a ‘Night Mix’ re-run. The senses of those waiting on the inevitable cycle of life and other such poignant chimes on the passing of time are soundtracked with an accentuated magical dreamy night garden score.

Recorded at his home in the Cotswolds’ earlier in the year, and framed as an album that provides a certain sense of calm and tranquility, Heath’s idyllic set piece is indeed rich with moments of stillness and contemplation. It all sounds serenely beautiful. From the announcer on the subway vignette ‘A Good Service,’ to the wooing undercurrents of ‘The Muse And Her Dreams’, both echoes of daily life blend with more mysterious surroundings in a superb sound collage. Ambient music it seems is in good hands, Heath’s seventh album for the Disco Gecko label is a sublime patient suite that offers a rest in these most troubling, intense times.





Archives:

Andrew Heath And Toby Marks ‘Motion’ Review

Andrew Heath ‘Soundings’ Review

Andrew Heath ‘Evenfall’ Review tof068



Staraya Derevnya ‘Inwards Opened The Floor’
(Raash Records) Album/4th September 2020





A culmination of Café OTO Project Space recorded performances from 2017 and additional material from that same year to 2019, the latest avant-garde inter-dimensional experiment from the Russian-Israeli straddling Staraya Derevnya is part of treble release schedule. Alongside the featured Inwards Opened The Floor there’s also a duo of improvisations recorded with Hans Grusel’s Kranken Kabinet entitled Still Life With Apples, released on cassette by Steep Gloss, and more live material under the OTO/Tusk title, released as a double CD spread by TQN-aut. A veritable bonanza of imaginative, much improvised albums from the St. Petersburg metro stop adorned group; though I’m going to concentrate on just the hallucinatory doors-of-perception opening opus, an expansive set of traverses, deconstructive marches and post-punk harangues built around lyrics inspired by the poems of Arthur Molev.

Expanding to accommodate up to twelve musicians, and an assemblage of musique concrete apparatus, radio waves, voices and more conventional instruments the Staraya Derevnya inhabit a shrouded soundscape of kosmische, post-punk and what can only be described as a kind of krautrock folk – think a meeting of The Faust Tapes and Can’s Unlimited scrapes and incipient windows in on cut short experiments but extended and more rhythmic.

Developing, magically entitled tracks such as ‘On How The Thorny Orbs Got Here’ drift off almost dreamily to a hushed narration and strung-out jazzy clarinet, brassy sonorous vibrations and short drum rolls, whilst the attic toy box clockwork march of ‘Chirik’ Is Heard From The Treetops’ chugs along at first like a wooden top Ballet Russes but then takes on a more traumatic force of industrial hooting and ripped, revved guitar: Russian folklore goes bananas.

Kazoos, rocking chairs, a not so “silent cello” help create a mysterious aura throughout: one that moves between the strained and distressed, the ambient and biting. For instance garroting wire cello and wooden tubular like percussion tangle with speed-shift space void effects and scrapes on the menacing ‘Hogweed Is Done With Buckwheat’, and on the almost swooning existential romance ‘Burning Bush And Apple Sauces’; soup plops, a radio broadcasted talky duet and a collage of piano and strings echo with hints of late Popul Vuh, OMD and the Pale Fountains.

The poetry is as whispery, haunting as it is erratic and harassed on these most probing clattery, screamed, rasped but equally fantastical tracks. I’m hooked. This is an astonishing set of cross-city amorphous urges, lingers and deconstructions like no other; an avant-garde wandering into the tapestry of Russian folklore and magic dream realism.




Hi, my name is Dominic Valvona and I’m the Founder of the music/culture blog monolithcocktail.com For the last ten years I’ve featured and supported music, musicians and labels we love across genres from around the world that we think you’ll want to know about. No content on the site is paid for or sponsored and we only feature artists we have genuine respect for /love. If you enjoy our reviews (and we often write long, thoughtful ones), found a new artist you admire or if we have featured you or artists you represent and would like to buy us a coffee at https://ko-fi.com/monolithcocktail to say cheers for spreading the word, then that would be much appreciated.

REVIEWS/Brian ‘Bordello’ Shea




Aua ‘I Don’t Want It Darker’
(Crazysane) Album/4th September 2020

I love this album. Should I just stop there and tell you to get your wallets out and buy it?! Or, should I give you reasons to do so?

Well if you have a penchant for Blur (when they are not being annoying and in an experimental frame of mind), or a love for the amazing Silver Apples this could well be the album to soundtrack these oncoming months of strangeness and wonder. There are even hints of Jean Michel Jarre, and I hate that cunt; but imagine if Jean Michel Jarre was good and wrote music with verve spirit and guile and been injected in the arse by whatever makes Can and Neu! so special, and if you can’t imagine that you need to buy this album anyway. And if that’s not reason enough it has a dark splendor I can imagine David Lynch standing and applauding. Another fine album to add to the list for the end of the year best.





Warped Freqs ‘Shifting Initiation’
(Wormhole) Album/24th April 2020


 

The sound of laid back wonky psychedelic rock has always been something I have enjoyed to varying degrees over the years and this ltd edition cd is a bit of a peach of a release; a psychedelic peach at that, the kind of peach Syd Barrett’s Pink Floyd and the Soft Machine might have enjoyed; the kind of peach Stuart Maconie would suck on whilst hosting the Freak Zone in-between records dripping the juice down his Wigan rugby jersey giving it a hurrah of the 1967s. It also has a nice spaced out Saturday night at the movies feel about it that is as if the movie was featuring crimson pantalooned beauties who swung their hair as they slowly danced in the underground discotheque to the mellow becoming sounds of the Warped Freqs. You could have a wail of a time in a crochet hammock gently rocking to this, losing yourself in the looseness of the soft kisses this enigmatic little beauty supplies. There is a very ltd edition cd available so space cadets get one while you can.





Prize Pig ‘The Line’
Single/24th July 2020




The debut release from a new DIY bedroom pop prince in town, the wonderfully named Prize Pig; and what a lovely pop song it is to stomping drum machine a reverb guitar and a melody Andy Partridge would be proud of, and would fit on nicely on one of his Fuzzy Warbles albums. Yes it is that good, bathed in old English Pasture pop charm; certainly one to watch.





Tiger Mimic ‘Where The Fire Used to Be’
Single/14th August 2020




 

Tiger Mimic describe themselves as a band to watch and who on earth am I to disagree with such a statement. There is nothing wrong with being confident in your own music or otherwise what would be the point of making it. And I quite like this as it slightly has a strange amateur dramatics vocal quality about it, which you don’t normally hear in guitar indie rock. It also stops and breaks off into a “Be My baby” drum beat midway through, which is always an egg in my basket. I expect this to get lots of plays on radio x (but don’t let that put you off).


Nicky William ‘I Fell In Love With Her’
Single/Now




This is heartbreakingly beautiful, a song steeped in the romance and hurt that love inspires, a song that brings to mind the many fine moments of Smog and Lee Hazlewood, one that inspires a dark melancholy to fill the room, one that swirls with the mists of regret stumbling through the corridors of yearning and solitude and the loneliness of being in love with the prettiest girl you have ever seen but knowing every other fool also wants her, and all that captured in the magic of a three minute song: the true magic of music.





Shishi ‘Mafitishei’
Album/30th June 2020




If all girl post punk from Lithuania is your thing and by the sounds of it, it is indeed my thing, this could be for you; harmonious off kilter pop with angular surf guitar, the aroma of The Pixies in 45rpm splendor and early Fuzzbox surrounds the whole delightful surroundings. It also has the pop suss to have a song, ‘Nebesikalbam’, that sounds like the 60s beat classic ‘Fortune Teller’ and not everyone has the nous or spirit not only to blatantly do such a thing but have the panache to carry it off: the slight fuzz bass brings tears of joy to this old fools eyes; quite a wonderful track. And this LP has plenty of those. A quite poptastic album in a Lithuanian post punk pop kind of way.





Abel Cain and the Scrubs ‘Scrub This’
(Pigeon Cove Records) Album/28th July 2020




There is a touch of the Bob Dylan’s about this album that I very much approve of, but in a late 70s garage Stiff records kind of way, and at the same time it has a lovely 60s garage feel about it – I know, I will call it rock n roll and be done it with.

This is simple undiluted stripped-down basic rock n roll with all the magic it entails; fine melodies, decent lyrics played live in a cheap studio, the sound of blue-collar working-class poetry at its finest. I hear the glorious history of rock n roll laid out in these seven tracks, from Hank Williams via Dylan the beat bands of the 60s through to Springsteen, Tom Petty and the Clash, and right up to Green Day. It’s punk rock with a country bar band feel. It is simply a very wonderful timeless album, one I advise everyone should give a listen to.





Reardon Love  ‘Locked In The Panopticon’
Single/Now




It’s really lovely to see that there are young exciting bands taking the influences of 80s synth pop with all its glamour and sleaze and moulding it into modern fine pop songs. Alongside the wonderful Beauty Stab I can see Readon Love leading the charge and grabbing the ears and hearts of radio programmers and blog editors with their grasp of the glamour melodies and songwriting talent. Maybe in these dark times music may once again add the sparkle and escape we desperately need.





Keys ‘This Side Of Luv’
(Libertino) Single/17th August 2020




Let’s transport back in time to the golden days of 70’s pop, where the Bay City Rollers meets ELO in a mellow sunshine romp of Saturday summer days gone past. Very unusual and quite refreshing to hear actually, the lovely warmth the Keys emit, especially over the soulless dross I have just put my ears through, sometimes drawing on nostalgia for inspiration is a good thing indeed as this record so lovingly proves.



ROLES ‘Rinpoche’
Single/7th August 2020




This is sexy funky and unusual and I like it. This may have been what Transvision Vamp would have sounded like if they had got Brian Eno in to produce. It’s all glam guitar and wonky synths with a scientific edge about it; a pop song with an experimental undercurrent or an experimental track overcome with pop sexuality; either way a damn fine single.



SLONK ‘Postman’
(Breakfast Records) Single/7th August 2020




A song to capture the hearts and minds of all those who remember the off-kilter guitar pop of A House from the late 80s early 90s; a song that has everything one wants from a diy pop single, catchy chorus refrain, nice melodies and lyrics that are both heartfelt and heart-warming. Who did indeed not want to be a postman at some point in their life. I actually failed my interview; I don’t think they thought my love of the Cramps and inability to either drive or lack of bike riding panache made me an ideal candidate. But I’m going off the point, the point being that this is a fine three-minute pop single worthy of your attention; so much so I’m quite interested in hearing the forthcoming album.





REVIEWS/Dominic Valvona





As usual, another international whirlwind of stopovers awaits reader, as I pick out choice and interesting new releases and reissues from across the globe. Channeling his traverses, mountain climbs and treks across the California wilderness into ambient peregrinations, Fran Dominguez as the Forest Robot, takes the listener out into the great outdoors, with his latest suite After Geography. An aural escape, a safe spatial plain, Dominguez creates an environment in which to take stock. A Finnish-American freeform jazz partnership is in vogue with Stanley J. Zappa’s new album for the Baltic coastal label We Jazz. Saxophonist and clarinetist Zappa (a nephew of the late Frank) and drummer/percussionist Simo Laihonen traverse British-Columbia and all points in-between on Muster Point. Creating the most hushed and diaphanous of cinematic dreampop, Israeli artist Zoe Polanski releases the Violent Flower album. I also take a look at the troubadour pianist John Howard, who from his Spanish studio home, ties in his latest adroit songbook To The Left Of The Moon’s Reflection with the second part of his published memoirs, Illusions Of Happiness, this month. And in my reissues section there’s the first ever reissue of the West Java Yanti Bersaudara sisters honeyed soul and beat group psych exotic self-titled ’71 nugget. The Australian born, but bought up in a rural backwater of England troubadour Campbell Sibthorpe returns back to his roots with the expansive storybook, Ytown.

 

Towards the fantastical, though based in geological science, experimental dub unit Cousin Silas And The Glove Of Bones reimagine a lost continental bridge of shared deities and cultures on the new album Kafou In Avalonia. And finally, we have the new no-fi songbook of despondent poetic scorn and resignation from our very own Brian ‘Bordello’ Shea, The King Of No-Fi’.

Zoe Polanski ‘Violent Flower’
(Youngbloods) Album/17th July 2020





Despite, at various times, living in one of the most contested dangerous spots on the global stage, Israeli artist Zoe Polanski transduces all the violence, danger and stresses into a most diaphanous, sometimes fantastical, synthesized musical haze. Her latest fully-realized shoegaze electronic swoon of an album – co produced and written with the Tel Aviv producer Aviad Zinemanas – is subtle but immersive, moody yet dreamy. Lit though by Polanski’s travails, a deep sense of sadness and sighed questioning lyricism permeates the wispy vaporous smoke machine pop production.

Beautiful throughout, hushed and fragile, Violent Flowers is a sweeping cinematic articulation of conflicted feelings. The title-track, and former single, draws upon the ongoing Israeli-Palestine tensions; which has taken on even more drama in recent months with the policy of planned Israeli annexations in the West Bank.

Channeling the Cocteau Twins and Chromatics, this gauzy serenade of blossoming synth-pop is a disarming evocation of lightness that features Polanski yearningly searching for a way back home amid the division. The album’s second single, ‘The Willows’, mourns not only the painful end of a “surreal” affair whilst travelling across the USA, but is also inspired by Polanski’s mixed feelings of empathy towards her Palestine neighbours with a longing to escape the rocket attacks that passed overhead when she lived in the atavistic port city of Jaffa, during the 2014 conflict with Gaza.

Born in another ancient city port, Haifa, on the slopes of Mount Carmel, Polanski escaped the tumult through music and cinema. After obligatory service with the IDF, the experimentally burgeoning musician, singer moved to the States; recording with the NYC band Katamine and enrolling on a summer course in cinematography at the prestigious School of Visual Arts. The fruits of which can be heard evoking a kind of dream realism on this filmic scored album.

As it happens, on returning to Israel and settling in the liberal creative hothouse of Tel Aviv, Polanski started a new project of soaked-reverb “slow cinema verite” named after the renowned Hungarian filmmaker Béla Tarr. Tarr’s actual cinematographer Fred Kelemen caught Polanski at a live show. So impressed, he invited her to score his own upcoming film.

This latest vision sees the visual-audio talent reach ethereal, almost apparitional scales of atmospheric beauty as she sings veiled lines over her creative foil Zinemanas’ mirror-y and airy synthesis of arpeggiator, sine waves and enervated percussion. Dream pop and neon lit electronica meets Israeli panoramas, mysterious island inlets, touches of Vangelis (on the glassy contoured ‘Humboldt Current’), soft bobbing beats and pulchritude waves of silk.

Gentle, enchanting with an aching depth, Zoe Polanski together with Zinemanas have created a refreshing vision of dreamwave electronic pop and filmic music; one that offers a different perspective and sumptuous mystery. Turmoil has seldom sounded so gossamer and hushed.







Kalporz X Monolith Cocktail: Zoe Polanski ‘Pharaoh’s Island’



Stanley J. Zappa ‘Muster Point’
(We Jazz) Album/7th August 2020




A regular stopover on my global tour of reviews, the Helsinki festival-label-store hub We Jazz are proving to be among the most prolific deliverers of quality contemporary and experimental jazz. Earlier this month the assured label put out albums from the Danish-Finn JAF Trio and Gothenburg saxophonist Otis Sandsjö. Their latest release pairs up two former acolytes of the Mitford Graves school of free jazz enterprise: the American tenor/soprano saxophonist and alto clarinetist Stanley J. Zappa (who’s name embellished this LP) and Finnish drummer, percussionist Simo Laihonen. The Queens-made drummer extraordinaire and teacher Graves is renowned for his avant-garde contributions working with Albert Ayler, Paul Bley and the N.Y. Art Quartet; a reputation that is lapped up by his former students on this set of probing impulsive serialism recordings.

You may have guessed by the name, and yes Stanley is indeed a scion of the famous Zappa family tree: a nephew of the late rock-fusion genius Frank. Erring towards jazz, Stanley proves that old adage that the apple doesn’t fall far from the tree; highly adroit and proficient in pushing at the foundations, able to switch between the spiritual and hard bop. His foil Laihonen, of the long-standing Black Motor trio, proves equally as talented, propelling in bursts and snaps or in an amorphous fashion hitting and reeling shapeless accents and meanderings.

Joining them on the odd radial exploration, bassist Ville Rauhala adds some stringy, rubber-band thrummed double-bass runs and bodywork thwacking: less rhythmic and traditional, more loose and wandering.

Muster Point, a reference heavy album of track title locations (much of which name check places in Stanley’s British Columbia Canadian home), was recorded both in the studio and out on the road. You can hear some of the live spontaneity and an appreciative applause on the flighty clarinet and looming bass, with sporadic drum breaks, avant-garde piece ‘Muster Point IV’. Split between shorter ambling and more energetic incipient Muster Point entitled flexes, and deeper, longer workouts this album strikes out towards Pharaoh Sanders’ Egypt on the opening suite to dishing out tougher, heavier breaks on the street map ‘538 E14th, City Of Piss, USA’.

Fluting, twirling and coiling over the tumbling drums, rumbling timpani and shaking percussion, Stanley’s vibrato sax hawks and spirals with both longer and shorter breaths. Often sailing at a counter speed to Laihonen’s quickened rolling patterns, that wondering instrument trills freely as light as air itself. Well, for the most part. Stanley can also toot rapidly and with force when the occasion arises.

From drawing on the ancestral (on the Kahil El’ Zabar watery percussive underflow ‘Pleasant Avenue’) to skitting across a NYC boardwalk, Muster Point plays hard and footloose with freeform jazz; dipping into the spiritual and rapidly evoking hard bop dashes. Yet again its another fruitful experiment and performance from the We Jazz label.




Otis Sandsjo ‘Y-Otis 2’

JAF Trio ‘ST’


Forest Robot ‘After Geography’
Album/28th August 2020





With a deep connective respect to the landscapes this intrepid mountaineer and sonic explorer has scaled and traversed, Fran Dominguez provides a subtly evocative safe space in the most tumultuous of times. When all the elements of a virus epidemic and the ongoing tensions of Black Lives Matter mix with the divisive rage of social media and fake news, the only tool we have left to navigate the storm of constant faux-outrage is “intuition”. Put both together, as the California-based trekker Dominguez has done, and you get a most beautifully subversive ambient soundtrack; a tenderly produced sonic psychogeography of both the synthesized and naturalistic; a million miles away from the hubbub and stress of the online world. A sort of self-help guide for contemplation and rest you could say, the softened bobbing and trickled piano notes and gently blowing winds washing over the listener with just enough depth and interest to transport them to the awe-inspiring landmarks of nature.

With over 400 ascents and 6,000 odd miles of cross-country exploring under his belt, Dominguez tunes into those experiences when composing music under the Forest Robot title. Intuition, that main motivation and driver for the latest tonal contouring suite, After Geography, comes into practice after all the preparation in the world fails to allow for the variables that arise when climbing those magnificent rocky peaks. Though obviously a great title in itself and an encapsulation of the Forest Robot’s meditative semi-classical, semi-Kosmische maps, the inspiration behind it comes from Ringo Starr. As the anecdote from rock’s backpages goes, the bejeweled digit fingered Beatles drummer proposed it when the Fab Four were stumped for a title for their next album after Revolver. As a lighthearted chide at the rivals, The Rolling Stones, who’d just released Aftermath, Starr chimed in with “After Geography”. It seems highly appropriate in this context, and in this time.

An escapist survey that breaths in the influences of Roedelius, Boards Of Canada, Erik Satie, Harold Budd, Nils Frahm and Small Craft On A Milk Sea era Eno, the album covers the terrain in a gauze of delicate resonance, notation and obscured woody movements. Track titles become descriptive reference points and wildlife moments experienced, on this aural map; a clue at times to the scenic inspirations that encouraged them. ‘Of Birds Migrating In The Distance’ is for example a winged patted dance and flutter across the ivory, and the marimba-like bobbing ‘Glacial Architecture Of The Mountain Corridor’ features crystalized icy notes and melting droplets: it’s almost as if Dominguez captures the sunlight gleaming off the slowly melting glacier. ‘Over The Drainage Divide’, which doesn’t exactly sound very inspiring, is surprisingly wondrous, even spiritual, with its choral ethereal waves and hints of ghostly visitations. An ascendant version of that choral spirit can also be heard on the soft droning, delayed and bouncing notes beauty ‘All Across The High Plain After The Storm’.

A mostly peaceable geography, Dominguez’s latest impressive suite offers the safety of a timeless rugged pristine panorama. A breath of fresh air; a sonic plain on which to gain some perspective, that intuitive methodology proves highly successful on a most pleasing, imaginative ambient experience.





Campbell Sibthorpe ‘Ytown’
EP/21st July 2020




Following up on the impressive choral anthem ‘Good Lord’, which we premiered last month on the MC, the yearning troubadour Campbell Sibthorpe proves he has more than it takes to deliver the full emotionally stimulating package with his new, generous EP Ytown. Over seven tracks of similar beautifully realised rustic anthems and shorter mood passages, Campbell expands his themes of escaping the pastoral backwaters of small town life.

Both a travail down memory lane and pilgrimage, nature’s son returns from London to the town in which he spent those formative years, on the outskirts of Bristol, to mull over the past, but above all, as the Australian born songwriter/multi-instrumentalist set out to serenely on that ‘God Lord’ hymn, seeks to find himself amongst the humdrum scenery. Ytown could be many towns, any town, yet it proves evocative and creatively fertile enough to inspire this expansive songbook. The very essence of the place seeps into the music through field recordings and the sound of the local church’s pump organ – used very subtly as a sadly reverent undertow on the setting-sun curtain call ‘Strawberry Line Pt. 2’ a couplet to the EP’s only scenic twinkled if musing instrumental, The Shins like ‘Strawberry Line Pt. 1’.

Entirely self-produced and recorded from the bedroom of his youth, Ytown pays homage to innocence, to his childhood relationship with his ‘Father Carpenter’, and the unburdened freedoms of nature. The first of those is a powered-up Midlake country folk anthem, the latter, an achingly harmony rich longing to be as free and detached as the ‘Dandelion’.

Almost echoing an early Radiohead paired with the Fleet Foxes, the tender woven poetic ‘Pastel Porcelain’ seems to have stepped out of a medieval tapestry, and the opening dappled lit blossoming ‘The Sun Appeared’ shows an almost filmic and experimental quality to Campbell’s music.

A balance of acoustic naturalism and full on, climatic singles, Ytown is a great piece of expansive storytelling, a conceptual EP perfect in length, depth and heartfelt searching.





Campbell Sibthorpe ‘Good Lord’ Premiere


Brian Bordello ‘The King Of No-Fi’
(Metal Postcard Records) Album/16th August





The self-anointed king of no-fi returns with another songbook of quasi-demoed wistful despondency and self-deprecation; a stripped-back one-track display of rough charms that cuts to the heart of the cult St. Helens malcontent’s sardonic, but also extremely vulnerable, annoyances about modern life.

The idiosyncratic de facto leader of the long standing dysfunctional family legends The Bordellos, and the barely concealed instigator of the anti-Brit pop and plodding rock Idiot Blur Fanboy, Brian ‘Bordello’ Shea (who I must also point out is a regular contributor to these very pages) follows up on his recent solo offerings, the Liverpool Hipster Scene EP and Boris Johnson Massacre single, with another album for the Aussie platform, Metal Postcard Records. Recorded during lockdown whilst growing tired at the lack of revolutionary zeal and wit in contemporary music, and the reliance upon of nostalgia, regurgitation in the industry (both musically and through blogs, publications, radio), Brian has penned a quite sincere collection of romanticized sufferings, regrets and love songs.

Making even Sparklehorse sound like ELO in comparison, the no-fi production values on offer are raw but never really coarse or discordant. No augmentation, filters, effects or sundry, just a bare accompaniment of rough’n’ready but melodious acoustic guitar and the whirling of a rudimental four-track; the click of the record button and, at the end of each performance, the stop button.

Channeling various maverick troubadours, post-punk poets (Dan Treacy springs to mind) and a Brylcreem of rock’n’roll idols (ironically enough the release of this album intentionally falls on the anniversary of the true king, Elvis’ death), Brian postulates on a lack of energy and rage in music, the death of the mutherfucker personalities, a bevy of “scarlet” women and lost innocence. Brian can be a romantic sod at times, even sentimental; writing some real tender poetic lines amongst the scorn and despair, with even a hint of Bacharach on ‘Banana Splits’ (yeah, imagine that!). Various stolen kisses, evocations of less complicated, less divisive magical times permeate the album despite the constant references to the death of this and that and the lamentable resignations and threats to give it all up. Sometimes Brian just tersely pays homage to his icons, such as Lou Reed and Billy Fury.

Quite swooning in places, this is neither a plaintive nor angry songbook, but as I said before a sincere often humorous yearn from a maverick soul stuck in lockdown. The King is dead; long live the King.


The Bordellos ‘Debt Sounds’

The Bordellos ‘Will.I.Am You’re Really Nothing’



Cousin Silas And The Glove Of Bones ‘Kafou In Avalonia’
(Submarine Broadcasting Company) Album/19th June 2020





Reimaging a time when Earth’s landmasses were being reshaped, the atavistic geological inspired futurist dub unit pose a cultural “what if?” with their fourth “set”, Kafou In Avalonia. Developing out of a volcanic arc at the northern edges of the “supercontinent” Gondwana (we’re talking about 550 million years ago; when this leviathan contained one-fifth of all the planet’s land) but decoupling to form a drifting micro continent of its own, Avalonia, if it didn’t eventually breakup and collide with Pangea, would have bridged what is now the Atlantic Ocean. Crustal fragments underlie parts of Southwest England, Southern Ireland and the East Coast of America. Wishful dreaming Cousin Silas And The Glove Of Bones picture an alternative reality; one in which Avalonia still existed as a gateway between all Earth’s cultures and peoples. It acts as the crossroads that might have set out an entirely different course for civilization; a more integrated, less fractious one perhaps. In this setting Haitian, Brazilian, Angolan and Nigerian deities, spirits and rituals converge with an experimental soundtrack of post-punk dub, Kosmische and electronica.

Invoking a lost world, a quasi-Atlantis, they merge voodoo ceremony and tribal incantation with sonorous throbbing basslines, barracking drums, heavy reverb and craning Manuel Gottsching like guitar.

A reference heavy album, with various “Loa” (spirits) and divinities summoned and made offerings, the track titles name check a pantheon of the worshipped. The opening gabbling dub and primordial shrouded ethereal jug-poured ‘Oxûm Over Water’ pays homage to the Yoruba peoples river goddess, while the singing chorus and insect chirped trans-Europa rail momentum Kraftwerk meets Guru Guru ‘Oxalá Of The White Sky’ takes its name from the Brazilian “sky father” and creator of human beings. Elsewhere, Haiti’s spiritual ancestors are represented in the shape of the serpent creator of the cosmos, Damballa (the On-U-Sound dub prowling low frequency crumbled bass languorous ‘Damballah Of The Dark Sky’), and senior Petro visitation born from the heinous savagery and injustice of slavery, Ezilí Dantor (the lolloping Orb submersion ‘Ezilí Dantor Awake’). Incidentally, that last spirit especially took kindly too offerings of crème de cacao and jewelry, and on its birthday, a wild pig. It’s believed that one such feast in honor to Dantor preceded the infamous slave revolt of 1791.

Ancestral ghosts meet synthesized futurism on this mystical transformed aural geography, as recordings of various rituals swirl in and around a cosmic soup. A supernatural and celestial, seeping and vaporous vortex of polygenesis sources are gathered together to create an imaginative cosmology hybrid. If The Future Sound Of London and Ash Ra Tempel recorded an album at Lee Scratch Perry’s black ark studio it might very well have sounded something like this. And that’s me saying this is a bloody great experimental dub album. Seek out now.




John Howard ‘To The Left Of The Moon’s Reflection’
(UK John Howard/USA through Kool Kat Musik) Album/7th August 2020




Chiming with the second candid, sometimes wistful, chapter in the pianist raconteur’s memoirs, this latest fragrant songbook manages past regrets with wizened heartfelt balladry. With plenty of time, including the lockdown, to mull over the past, after writing two volumes of self-effacing recollections (part two, Illusions Of Happiness, is scheduled to tie in with this album, published on the 7th August) John Howard channels a lifetime of setbacks and learning through the philosophical and metaphorical.

Coming to terms and letting go in some respects, the fledging 70s star set back by a series of career mishaps and a traumatic accident (forced to make a fateful leap from the window of an apartment he shared in Earl’s Court with some colourful Filipino gay characters, who brought back a mad Russian ‘bit of rough’ intent on murder) muses over breakups (the la la, almost Christmas seasonal, chiming mini anthem ‘I’m Over You’) and a broken friendship (the regretful heartache ‘Echoes Of Pauline’). The latter’s real life subject appears as a recurring figure of that regret in John’s work; the best friend from school losing touch since 1973 (as John admits, probably down to him and not Pauline) first pops up on ‘The Flame’ from the career launching Kid In A Big World showcase, and later on ‘Pauline’s Song’, which featured on the 2009 EP Songs For A Lifetime.

Pauline’s presence, companionship is much missed it seems, as John looks out from his Spanish home veranda on an uncertain, if scenic, world. Idyllic though it is, his life in the Southeastern Spanish town of Murcia can’t make up for the pining of his former Welsh home, and even further back, Lancashire. Moving across the seas to preempt Brexit, John recalls a Welsh pastoral bliss on the wistfully beautiful melodious ‘And Another Day’. Yet both lyrically and through his signature subtle minor key changes moves deftly into the sadness of leaving it all behind. The scented waltz-y ‘Illusions Of Happiness’ ambles through a perfumed garden of delights but also mournfully wades out into the sea; waiting on something, a ship, vessel, the final boat ride perhaps.

Old ghosts mingle with analogies of saviors, and the tropes of coming-to-terms with one’s decisions. This is all done with a most adroit touch of pastoral organ, Baroque chamber pop, gentle Dylan-esque harmonica, concertina and softened tambourine rattled crescendos: all of which is played by John. It’s a sound that is saved from the saccharine and pushed towards the yearning beauty of the early Bee Gees, late 60s Beach Boys and the Incredible String Band, whilst echoing the flourishes of John’s burgeoning pianist troubadour career in the 70s.

The 17th album proper in a career that has regularly stalled (mostly down to the mishandling of others), with gaping holes in which John turned his hand to A&R, the lyrical To The Left Of The Moon’s Reflection follows on from last year’s brilliant Cut The Wire – just one album in a long line of such releases from arguably his most creatively prolific tenure. The poetically scene-setting songbook is a perfect accompaniment to those memoirs; a mature retrospection of a life well lived.








John Howard ‘Cut The Wire’

John Howard ‘Incidents Crowded With Life’

John Howard ‘Across The Door Sill’



Reissue

Yanti Bersaudara ‘ST’
(La Munai Records) Album/7th July 2020





A beautiful three-part harmony serenade drifting out of West Java, the much sought after 1971 album from the endearing Yanti sisters is finally being reissued for the first time ever. From Indonesian musical treasure hunters, La Munai Records, a befitting repackaged version of that original Bamboo Music magical Sundanese suffused treat.

Previous twee recordings, which swing between Merseybeat and enervated gospel soul, have made it digitally onto a number of platforms and compilations over the years, but the sisters’ later self-titled nugget has remained pretty elusive.

Released towards the end of their tenure, this beautifully cooed, lulled and charming harmony rich record seems oddly out of step with its time; though the strict regime in Indonesia had the gall to ban rock’n’roll, and so outpourings of fuzz-thrilled rebellion and salacious gyrating were kept to the minimum: more the early fab four’s ‘Tell Me Why’ or anything by The Tremeloes than the dirty scuzz and teasing of the Rolling Stones. That’s not to say the odd frizzle of psych and a coarse guitar twang or two doesn’t pop up here and there, but this early 70s songbook is mostly dreamy, heavenly even, and spiritual.

Whilst channeling the siblings (that’s Yani, Tina and Lin Hardjakusumah) West Javanese heritage of Bamboo Music, Gamelan and Jaipongan, you will also hear a constant sustained and fanning ray of church organ too. The lovely honeyed vocals even reach the ethereal heights, sounding like an Indonesian version of Dusty sings gospel.

The second most populous ethnic group in Indonesia, the Sundanese people (a name derived from the Sanskrit prefix “su”, which means “goodness”), of which the sisters belong, reside in a part of the country synonymous for its rich musical traditions. Soothed into an exotic dreamboat mix of angklung ringing and bamboo bobbing, reedy staccato surf guitar and ticking away drums those delicate ancestral chimes are propelled into the beat group era, and on the misty organ ghostly ‘Bulan Dagoan’, a spooked funhouse garage band era.

Coquettish, enticing, at other times like the 5th Dimension and choral rhyming, the girls vocal sound is sweetened; flourishing with yearned and exotic swooning.

For those of you wishing to enjoy a languorous dreamy slow boat to Java, with just enough fuzz thrills to pique the interest, let the Yanti sisters provide the hip accompaniment. If you’ve already been entertained by the trio, then you’ll find this ’71 release less saccharine and girl-group than previous albums; more magical and with more stained glass soul.






Hi, my name is Dominic Valvona and I’m the Founder of the music/culture blog monolithcocktail.com For the last ten years I’ve featured and supported music, musicians and labels we love across genres from around the world that we think you’ll want to know about. No content on the site is paid for or sponsored and we only feature artists we have genuine respect for /love. If you enjoy our reviews (and we often write long, thoughtful ones), found a new artist you admire or if we have featured you or artists you represent and would like to buy us a coffee at https://ko-fi.com/monolithcocktail to say cheers for spreading the word, then that would be much appreciated.


Reviews/Brian ‘Bordello’ Shea



Salem Trials ‘Do Something Dangerous’
(Metal Postcard Records) Album/5th July 2020


This is the label debut LP from one of the bands of 2020 – a fact I’ve previously mentioned in reviewing their first two singles, both of which are featured on this wonderful album; the Captain Beefheart meets the Buzzcocks ‘Head On Rong’ and whip frenzy Wire like pop gem ‘Pictures Of Skin’. The rest of the tracks are no slouches either; mining their influences from late 70s early 80s post punk but without just being a post punk photo fit band, the influences are there but they add their own unique twist adding a beautiful wash of pop melody and some simply stunning guitar playing – especially on the beautifully dark but life enhancing ‘No Light Escapes’.

Andy Goz is one of the most inspiring guitarists I’ve heard in a very long time and is obviously not just an extremely talented musician but must also have a great knowledge and understanding of what makes great rock n roll as the pre punk spirit of the Stooges, MC5 and The Pink Fairies are not just captured but hoisted on flag stands and waived as a taunting warning to all the other many less inspired guitar bands that there are new kids on the block and this simply fine album is the benchmark that they probably have not a hope in hell of reaching. A simply stunning debut.

 






Japanese Television ‘Bee Cage’
(Tip Top Recordings) Single ahead of a new EP, released 4th September 2020




I like this, it’s a short blast of wonky keyboard organ led heavy bass Sci-fi surf frenzy: Just what one wants to pickle an egg. Dick Dale goes for a moonwalk with Joe Meek whilst wondering what goodness lies beneath the waves of yesterday. Summer sweet sensation, a joyride for the bequiffed buffoon that lies deep within all men of a certain age. A Deeley Bopper of a single.






Various ‘A Picture Of Good Health Compilations’
(Wormhole World) Albums/Volumes 3.1 & 3.2 14th July 2020




What we have here is the latest comps from the experimental Wormhole World Records; two albums full of experimental genre hopping music with something for everyone; from the beautiful almost David Lynch soundtrack like Goodparley to the experimental mellow dance sounds of Gnaarf and DXII, to the crazy mad world of Toxic Chicken, to the poetic Crumpsall Riddle, and any fans collectors of 80s synth pop will be interested to find a new track by Blancmange – the beautiful synth instrumental ‘This Is The Moment I Have Been Waiting For’.

In all, this is a massive musical project and all tracks believe me are worthy of investigation: a great way to soundtrack a Sunday afternoon as I’ve discovered to my great pleasure.

There are in all thirty-nine tracks spread over two limited edition CDs 3.1 and 3.2 or two downloads from the Wormhole Bandcamp and is well worth a explore; and if you buy both CDs at the same time you save yourself a £1, so go and treat yourself.






Twisted Ankle ‘A Bag of Pasta’
(Breakfast Records) Single/19th June 2020




A bag of fall and Captain Beefheart discordance shaken up and let lose to breed and corrupt the inner workings of a Daily Mail readers fan club convention; a disconcerting eyelash flutter at the conventional tale of Siegfried and his lust for finding the ideal companion for apple bobbin. Yes a loose cannon of a single.






The Top Boost ‘Tell Me That Your Mine’
(You Are The Cosmos Records) Single/22nd June 2020




The sound of the Byrds going through their country phase is brought to mind with this fine blast of summer jangle. At the moment there seems to be a lot of jangle about and that cannot be a bad thing when it is performed with such style and panache. Two more tracks of 60s influenced guitar pop for you dear readers to soundtrack you sunning yourselves with.






Renaissance Grrl ‘Happy When I’m Sad’
Single/5th June 2020




This is a lovely sad well-performed song of melancholy by the 18-year-old Alannah Jackson. Alone with her guitar, nothing more nothing less, just a simple moment of purity, which should be cherished and held close; proving once again that keeping it simple is sometimes best especially when you are blessed with such a fine voice and songwriting talent.






The Icebergs ‘Add Vice’
(Imaginator Records) Album/17th July 2020




Beautifully strange is the only way to describe this marvelous album of pure poetic bliss. What grabs me from the off are the wonderful lyrics (an art form much ignored in the music biz today). Lyrical streams of them flowing weaving beautiful, frightening heart-breaking images throughout, bringing the early works of Patti Smith and PJ Harvey in a mellow mood to mind and musically reminding me of Nick Cave’s band of merry men the Bad Seeds rockabilly, folk, the Velvet’s guitar pop and the sounds of late Seventies no-wave, all merging to form a canvas for the poet Jane LeCroy to paint beautifully vivid pictures with her wonderful prose and wonderful voice.






bigflower ‘hunneh’
Single/27th June 2020




The Monolith Cocktail continue in their quest of promoting the under-the-radar beguiling guitar power of bigflower, who once again releases a beautiful sublime slab of free to download aural magic with this wondrous instrumental. When oh when will a record label get their act together and compile an album of the wonders bigflower is releasing on a monthly basis?






Spam Javelin ‘Fuck You/Cogged Off’
Single/20th June 2020




This is a double jab in the eye of pure punk rock old style; two tracks that both last around the 1 min 30 mark and come charging into your life, rattles a few of your remaining brain cells and then pisses off again: which all good punk rock songs should do. Both have rather marvelous guitar riffs especially ‘Cogged Off ‘, which has a wonderful Fall like guitar riff running throughout.






Beaulieu Porch ‘Vivit Sumus’
(Carmite Records) Album/7th June 2020




The lonely world of home-recorded psych can be a beautiful cathartic thing. It can be a thing filled with beauty, magic and soul, and the music of Beaulieu Porch has all three of those ingredients. Mid 70s Lennon and the wayward beauty of the Flaming Lips and the lost music of late 60s early 70s psych folk and Baroque pop collide in a thrilling mismatch of wanton musical adventure. Beaulieu Porch make such beautiful music it deserves to be heard by all instead of by the lucky few in the know; yes once again a musical underground musical maverick who deserves more is becoming quite a feature in these review round ups nowadays, so if you have not heard the music of Beaulieu Porch before do yourself a huge favour and give this fine album a listen; and if you have heard them no doubt this cd will already be in your collection. One of the undergrounds finest.






The Vapour Trails ‘Golden Sunshine’
(Futureman Records) Album/19th June 2020




Sometimes a bit of 60s inspired guitar jangle is what one needs in their life. And if you need that dose of sunshine in your life currently, one could do a lot worse than give this album a listen.

Hailing from Scotland The Vapour Trails are yet another band who wear their love of all things guitar very much on their sleeves: although I’m very sure The Teenage Fanclub influence is there it’s not as prominent as a lot of bands I have been sent music to review over the last 18 months. The opening track ‘Golden Sunshine’ had me thinking of the excellent and much underrated Spirea X [remember them] and a few tracks on this album have the early 90s guitar band feel of The La’s [especially on ‘Different Girl’] and the Cotton Mather; but that comes with them in turn having the same 60s influences (Beatles Byrds and such), and I’m sure the Shack’s masterpiece Waterpistol had more than a few airings in The Vapour Trails rehearsal space.

This is a fine album full of melody catchy guitar lines and is steeped in an obvious love and understanding of what makes great 60s inspired guitar music and what makes 60s inspired guitar music great.






Brian ‘Bordello’ Shea joined the Monolith Cocktail team in January 2019. The cult leader of the infamous lo fi gods, The Bordellos, has released countless recordings over the decades with his family band of hapless unfortunates, and is the owner of a most self-deprecating sound-off style blog. His most recent releases include The Bordellos beautifully despondent pains-of-the-heart and mockery of clique “hipsters” ode to Liverpool, and the diatribe ‘Boris Johnson Massacre’. He has also released, under the Idiot Blur Fanboy moniker, a stripped down classic album of resignation and Gallagher brothers’ polemics.

Each week we send a mountain of new releases to the self-depreciating maverick to see what sticks. In his own idiosyncratic style and turn-of-phrase, pontificating aloud and reviewing with scrutiny an eclectic deluge of releases, here Brian’s latest batch of recommendations

Reviews Special/Brian ‘Bordello’ Shea




Brian ‘Bordello’ Shea joined the Monolith Cocktail team in January 2019. The cult leader of the infamous lo fi gods, The Bordellos, has released countless recordings over the decades with his family band of hapless unfortunates, and is the owner of a most self-deprecating sound-off style blog. His most recent releases include The Bordellos beautifully despondent pains-of-the-heart and mockery of clique “hipsters” ode to Liverpool, and the diatribe ‘Boris Johnson Massacre’. He has also released, under the Idiot Blur Fanboy moniker, a stripped down classic album of resignation and Gallagher brothers’ polemics.

Each week we send a mountain of new releases to the self-depreciating maverick to see what sticks. In his own idiosyncratic style and turn-of-phrase, pontificating aloud and reviewing with scrutiny an eclectic deluge of releases, here Brian’s latest batch of recommendations.



Cosse ‘Nothing Belongs To Anything’
(À Tant Rêver du Roi/Grabuge Records) EP/12 June 2020



This EP has a certain moody dark grey charm about it: all Slint atmospherics and Jeff Buckley carefree smiles, a place where angst and beauty collide to make the soundtrack of a unmade 90’s road movie. Snarling feedback guitars and beautifully screamed whispers from both males and females slowly strips the layers of dust and heartache to leave the naked throbbing of the stripped down decaying heart of a future yesterday memory.






8 Floors Up ‘Roman Bones Make Good Glue’
Single/26th June 2020



Ah is this going to take us back to the wonderful summer of 89 when baggy ruled the airwaves. This is quite a magical groove that reminds one of the golden days of the Mondays and Roses a song I can see doing very well radio play wise in the months ahead. And for once, a song that will be worthy of such an honour; a track that is lying in the stars staring at the gutter.






Cathedral Bells ‘Undertow’
Single/29th May 2020



This is quite a lovely thing indeed, Johnny Marr ‘These Things Take Time’ guitar and the swooning like Cocteau Twins vocals merge into a blissful just under three minute pop rush of pure indie perfection: a song to be listened to on repeat with your favourite person by your side smiling along.






Inglourious Basterds ‘Something In the Air’
Single/3rd June 2020



A cover of the old Thunderclap Newman classic you’re asking yourselves? And the answer is yes. Covering a well known and overplayed radio fave is always a risky move unless you are willing to take the track and reinterpret it in a completely different way, making the song sound like your own; and to a certain extent The Inglourious Basterds succeed. The first part of the track just being drums and a fine vocal that brings out the beauty and meaning of the wonderful lyrics highlighting again the fine melody of the original and then it explodes into a Sonic Youth meets Dinosaur Jnr. guitar duel, where both parties are left beaten to a pulp by the tracks end and the winner being you the listener. It’s free to download from Bandcamp.






National Treasure ‘Come And Go’
(Keep Me In Your Heart) Single/19th June 2020



This track reminds me of a school project to make a pop single that’s to be sung by a saucy maths teacher. It has that slightly seedy feel which is a good thing. It also has a looseness and throwaway pop fluff feel to it too. The song is about faking an orgasm so maybe this sounding like a school project faking a pop single is what they were going for.






HighSchool ‘Frosting’
Video Single/8th June 2020



Joy Division keyboards, early Cure matching bass and guitar lines and sub Ian Curtis vocals: yes it’s another how much we loved indie in the 80s release. And this is a jolly enough affair. And if you like the indie sound you will like this as it is done very well, and is their debut release so good luck to them.







Aimee Steven ‘Darling’
(Jacaranda Records) Single/15th May 2020



I quite like how this sounds like Chicory Tip, not an influence you hear everyday it must be said but this is a catchy little ditty that goes around in a riff shaped circle, which for those who do not know what shape that is should listen to this lovely piece of guitar pop. I can imagine Mickie Most giving this a thumbs up on New Faces; and do you know what? The old chap would be right.





The Rubettes ‘Glamnezia’
Single/12th June 2020



I really wanted to love this, I really did. I loved The Rubettes in the 70s; them alongside Mud and Alvin Stardust and Gary Glitter sound tracked my infant and junior school days: I remember being sat in front of the TV every Thursday transfixed by the magic of Top Of The Pops. But sadly this song I listened to over and over again trying to decide as whether it was a joke or not, the lyrics really are so bad they are laughable, it has even to my mind surpassed Oasis’s song ‘Little James’ as the worst song written by a grown up. In fact I have to tip my hat to them for their guts to release it. “It does not get much easier in fact it gets much sleazier when you have amnesia”, even Jack Black would not succumb to such depths with his unfunny homages to hard rock; this track does in a cartoon overblown way, with the guitar turned up to eleven and the torturous vocals [yes torturous to listen to]. I bet the singer could eat three shredded wheat and I’m sure the producer must have had shredded wheat rammed down his ears to get through the recording session. But saying that, I’m looking forward to the album.



Guts Club ‘Song For Carm’
Single/29th May 2020



Since I’m the only person in this world who has never watched The Sopranos I have nothing to compare this to, as this is a cover of the theme song. Saying that, I like this; it sounds like a drunk mumbling down a well which is a lot better than a lot of the aural shit I have ploughed through this afternoon believe me.






Chris Cech ‘Sloth’
Album/8th May 2020



I know nothing of Chris Cech apart from the fact he recorded this wonderful album in his mother’s basement and it’s available to download from his Bandcamp site, which I advise you to do, as it recalls the manic pop thrills of the four great guitar ‘bs – Big Star, Beatles, Buzzcocks and Big Star again – without actually sounding like any of them. Actually it has more of a feel of the great Alex Chilton’s solo work and the early Go Betweens, but anyway it is brillant guitar music and has melodies aplenty and Chris has that rare pop nouse to make quite timeless gems sound like quite timeless gems, and this album is full of the little blighters. A very fine album indeedy.






Reviews/Brian ‘Bordellos’ Shea





Brian ‘Bordello’ Shea joined the Monolith Cocktail team in January 2019. The cult leader of the infamous lo fi gods, The Bordellos, has released countless recordings over the decades with his family band of hapless unfortunates, and is the owner of a most self-deprecating sound-off style blog. His most releases include The Bordellos beautifully despondent pains-of-the-heart and mockery of clique “hipsters” ode to Liverpool, and, under the guises of the Idiot Blur Fanboy moniker, a stripped down classic of resignation and Gallagher brothers’ polemics.

Each week we send a mountain of new releases to the self-depreciating maverick to see what sticks. In his own idiosyncratic style and turn-of-phrase, pontificating aloud and reviewing with scrutiny an eclectic deluge of releases, here Brian’s latest batch of recommendations.

With all live gigs and events more or less quashed for the foreseeable future, buying music (whether it’s physical or through digital platforms such as Bandcamp) has never been more important for the survival of the bands/artists/collectives that create it. We urge you all to keeping supporting; to keep listening.


The Legless Crabs ‘Be A Sadist’
LP/Available Now


If you remember a few weeks ago I reviewed a single from The Legless Crabs declaring them the future of rock n roll. Well they have just compiled a free to download LP of all their singles and EPs, and released it as a free to download compilation.

Essential is the word dear readers, essential! The early Mary Chain meets the Shaggs with a touch of Daniel Johnson and Pussy Galore thrown in, it’s dark and it has guts and a do not give a fuck attitude. It is a shambolic noisy stew of noise but with wonderfully written melodies and lyrics. The best band to come from the USA since the Banana Splits: no doubt about it.





No Exits ‘No Exists EP’
Available Now




The 80s post punk sound really is making a bit of a re-emergence, and why not, as when it’s done well it’s a fine thing indeed: and No Exits do it very well indeed.

Their music takes me back and has me thinking of very early Dead Or Alive and Theatre Of Hate with a touch of Soft Cell, and something about it really reminds me of Theatre Of Sheep (maybe its their guitar sound), but very entertaining nonetheless. So if the 80s post punk swirl is your thing you should really enjoy this fine EP.





The Loungs ‘Hey Brain’
(Fresh Hair Records) Single/Available Now




It’s nice to have those St Helens Psych Monkees The Loungs back after a far too long a layoff since their gem of a third LP, the 2015 baroque flavoured Short Circuit. And this little beauty carries on where that fine album left off. ‘Hey Brain’ being a quirky short stroll through the Summery psych of one’s past, recalling the woozy delights of the Super Furry Animals with a hint of the Zombies and Cat Stevens, but with a charm of their very own. A true delight, which could of only been better if it was called, “Hey Brian”.





DeathDeathDeath ft. Lomi MC ‘Love Is A Construct’
(Numavi Records) Single/Available Now




I love this. It’s rather quite beautiful and whoever says they don’t make pop music as quite magical as they used to do should be made to listen to this on repeat until they admit they are wrong. It has a wonderful warm quality about it that takes my aging mind back to the wonderful music of Jane and Barton. A soft summer aural seduction that I advise music lovers of all ages should allow themselves to be seduced by. They won’t be sorry.





Graham Domain ‘Waking World’
(Metal Postcard Records) EP/Available Now




What we have here is another EP from one of Manchester’s greatest hidden musical secrets. Yes, there is something quite engrossing about the music of Graham Domain, a certain quiet dignified subtle madness that completely beguiles. It has a dark seductive charm from the tinkling piano and synth strings and jazz bass that lures you into the textured dream of the songs, and as it pulls you in and you begin to lose yourself in the magic you then notice the beauty of the lyrics and the phrasing: nobody quite sings like Graham Domain anymore. I’m sure that somewhere along the line the quiet genius of his music will find a audience and hopefully the large one it deserves, plus on the track ‘What Love Means’ there is the best crazy synth solo one can ever hope to hear.





Bloom De Wilde ‘The Heart Shall Be Rewarded By The Universe’
LP/Available now




If only life could be as wonderfully magical as this album. Bloom De Wilde has an aura about her that emits a certain belief in the beauty of life, with her songs of nature and love, she gives one hope in these times of backbiting misery and disease that music and love can be the answer. Maybe we all need to return to the spiritual freedom of 1967 and not be wrapped up in the junk and social media that clouds up our minds and hearts, for this album casts a mighty spell that is bewitchingly hypnotic, that slowly seeps through the layers of self doubt mistrust and ego and has you smiling again, has you laughing, has you counting your blessings and looking forward to living your life and making the most of it as you only have one life so why not make the most of it. The Heart Shall Be Rewarded By The Universe is one of those rare albums that is made with pure love and should be treated with pure love: a shimmering delight.





Drew Davies ‘Drew Davies’
(AD1) LP/Available now




Is the good old 80s the new 60s? I wonder as I’m getting sent a load of music that is so influenced by the decade. This LP by Drew Davies could have easily been released in that decade – if I hadn’t known better I would have thought this was a reissue of some album that slipped under the radar at the time.

Drew Davies obviously worships at the altar of David Bowie, which indeed is no bad thing. He could have worshiped at the altar of Stefan Denis, and do we really need that. Instead we are treated to the kind of album a major label would have released in the 80s pretending that it was an indie. It has the same polished Alt rock glamour and choruses that has the audience punching the sky while keeping one eye for the queue at the bar to thin out so you can send your girlfriend. It is in no way the greatest LP you will hear this year or any year from the 80s but you will certainly hear worse, and any fans of Billy Idol or 80s Bowie or even John Moores Expressway [remember them] will certainly enjoy this album as I did, as melodies and glamour do not age.





Dog Paper Submarine ‘Slippery Satellites’
(Small Bear) Album/Available Now




So we finally get the final LP by Dog Paper Submarine, two years after it was recorded, and it was indeed worth the wait as it is as always fine indie rock: part dEUS part Pixies, but all Dog Paper Submarine.

Clattering guitars, instrumental surf basslines, melodies that prod and gouge and caress are all one wants from their indie rock. To be honest I’m not a huge indie rock fan, I find it incredibly dull mostly these days, which again from a personal point of view makes this album and Dog Paper Submarine even more impressive, as this is a album I will play and enjoy, and that should be enough for any music lover.





Salem Trial ‘Head On Rong’
(Metal Postcard Records) Single/Available Now




I love this. From the start the explosive wall of Thin Lizzy like double lead guitars leap out at you and joyfully throttle you ears to death in the nicest possible way, whilst Beefheart like vocals and a melody catchy enough to hook yourself make for a whopper. It’s a song that has me yearning for the wild and drunken nights at the Royal Alfred in the late 80s, while being entertained by the wonderful local band The Volunteers, who made one mini album of sublime Beefheart frenzy called Bladder Of Life. This song reminds me of those days. That’s high praise indeed believe me. ‘Head On Rong’ is a must have for music lovers old and young alike.





It’s Karma It’s Cool ‘Woke Up In Hollywood’
Album/Available Now




If your thing is music with sparkling guitars and joy filled melodies then this album is for you. At times recalling Lloyd Cole with his Commotions and maybe a poppy REM after overdosing on the sun, songs shimmer and cast shadows of one string Rickenbacker guitar solos, the kind that The Bangles would embrace and comb their hair to whilst kissing posters of Gene Clark.

Woke Up In Hollywood is an album that exists to take one back to the golden days of the California sounds from the mid 60s through to power pop of the early 80s; from The Byrds to The Tremblers, even at times reminding me of the English Beat.

If you like, this is an album that should come with a large cut-out sun to hoist up into your room as the heat and pure light emerges from your stereo or laptop.




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